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The Etude Magazine: 1883-1957 John R. Dover Memorial Library

12-1-1913

Volume 31, Number 12 (December 1913)James Francis Cooke

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Recommended CitationCooke, James Francis. "Volume 31, Number 12 (December 1913)." , (1913). https://digitalcommons.gardner-webb.edu/etude/32

New Publications Two-Part Songs

TOR WOMEN S VOICES Price. 50 Cent*

A .ollection of bright, 10- ludlou* and

aiUpiral f..nrUr7n M-lmob., seminaries, for high school choruses nnd for woiuen s rlulm The very best powdl.le muterlal ban ln*eti drawn upon In the nmklng of this laadc our resources fur this purpoae being uuricidlcd. The ln-st Ktandar.1 nnd eon- teu.poriirv writers nre represented. It Is n u,ok ..f cunvenlenl slw In the usual octavo form.

New Rhymes and Tunes ior Little Pianists

By H. L. CRAMM Op. 20

Price, 75 Cent*

A most Interesting book for elementary students, which may be taken up In con¬ nection with any primer or instructor, and be used while the young students are still learning the staff notation. The pieces arc as simple and ns tuneful as it Is possible to make them ; most of them have verge* accompanying them which may be Hung. The music throughout is pleasing and appropriate and at the same time the liook is really helpful and instructive.

Chaminade Album FOR THE PIANOFORTE

Price, 75 Cento

A collection of the most popular pieces by the celebrated French woman composer, Including such favorites as (>ir“ <te Haltct, Autumn, Callirhue, The Flatterer, I’ierette, Scarf Dance, Seranadc and others, all newly edited and revised, together, with a biographical sketch of the composer, and Mine. Chaminade's own direction's for play¬ ing some of the pieces. A Chaminade Allium Is in itself a superior collection of the very host class of drawing-room music.

Tbe Vocal Instructor By EDMUND J, MYER

Price, f 1.00 A practical, conimoii-seiise system, based

upon Hi.lure's laws or demands, for the study and development of the singing VI.Ice. This hook 1* born of the authors many yenrw of praetl.-al and successful studio experience. It alms to give to the

which tUe whole system la based : the sing¬ ing movements, the necessary physical ex- crc|s,-s. slid the nerve eatlsihenlcs. Its object Is to develop the singer physically and v.s-ally. The beginner. Ihe more ex¬ perienced singer, and the busy teacher will all find material and information of the highest value In this hook. For the young teacher just starting out or for self-ln- sfructlon. It trill prove Indispensable. Co¬ piously Illustrated. Handsomely printed and substantially hound In Hexifdc cloth.

Concentrated Technic For the Pianoforte By ALOIS F. LEJEAL

Price, $1.00 A technical work for more advanced

students, to be used in dally practice, to foster and conserve flexibility of the fingers and wrist, insuring perfect evenness of touch and smooth, pearl like scale playing. All departments of technic are fully covered In condensed logical form.

Study Pieces in Octaves For the Pianoforte

By A. SARTORIO. Op. 1021

Price. 11.25

A masterly exemplification of modern octave playing for students of Intermediate or somewhat advanced grades. There are eight studies In all, each one working out some particular point. Mr. Sartorlo s work Is always interesting and melodious, but in studies of all kinds be is at his very

Indian Songs By THURLOW LIEURANCE

Price. $1.25 This volume contains a set of original

Indian melodies which have been personally transcribed and arranged by Mr. Lieurance, who resided for a time with the Indians with that purpose in view. They are ex¬ ceptionally striking and characteristic num¬ bers, well within the range of the average singer, and specially adapted for recital purposes, with a tasteful but not difficult accompaniment. The volume will contain some interesting literary matter regarding Indians, their customs, music, etc., with pictorial illustrations.

Selected Classics For Violin and Piano

Compiled tad Arreaged by F. A. FRANKLIN Price, 50 Cent*

Rome of the gems of classic melody selected from the works of all the great mas- ter* and arranged In playable, but effective form, for amateurs and students. This vol¬ ume will serve as a preparation for more extended study of the classics nnd afford ealuable practice In ensemble playing. All the selections are la admirable taste.

Etudes Melodiques For the Pianoforte

By E. NOLLET. Op. 43 Price, Si 50

Fifteen splendid studies, similar In style and grade to Heller's well-known Op. 45, hut more modern and far more Interesting in musical content. Each study is In itself a charming ples-c of music, but each one exemplifies some important feature in piano-playing. These studies are carefully edited and fingered.

Old Fogy His Opinions and Grotesques

Edited and with an introduction by JAMES HUNEKER Price. $1.00

.Some years ago the name of Old Fogy commenced to appear In the musical maga¬ zines as the nom de plume of a writer of power, individuality and imagination. Hun¬ dreds wondered who the writer was, but up to this time his identity has never been revealed. We may say that he is one of the most successful and highly lauded of all the music critics of the present day.

In the character of Old Fogy he has writ¬ ten his most intimate thoughts upon mus¬ ical subjects. These have to do with the great masters of to-day and yesterday, their works, their lives’ and their ideas upon teaching.

Popular Recital Repertoire For the Pianoforte

Price, so cent* A new recital or drawing room album,

containing standard and original modern works, every number s gem. Such pieces as Dvorak « "llumoreske" and Schutt's .4 fa /Hen Hw.r are Included, together with many other piece* by popular Amertran and European writers, ju«t surh things as one wants to play. The pieces lie chiefly In grades four and five.

Operatic Selections For Violin and Piano

Compiled mad Arranged by F. A. FRANKLIN

Price, 50 Cent* The violin is essentially a melodv Instru¬

ment, hence the many beautiful melodies to be found In the standard operas nre espe¬ cially suitable for violin,, transcriptions. Mr. 1- ranklln has selected some of the Im¬ mortal melodies of the great composers and arranged them In a manner both attract've and playable. All are within the range of the ordinary v.olln student. The piano ii!r,,,„1Hls", a",ea8y to play but effective ody° Instnunent.11* g0°d 8UPP°rt t0 ‘h“ m°'

The New Organist A Collection for the Pipe Organ

By GEORGE E. WHITING Price, $1.50

tlom. by Mr. Whiting, as well ns tranship. *m1. arrangements from standard

work* by classic and m.slern masters. They sre.sr.fully pmlajed sad registered through £H'hi7 ! 1 ,,h\ "’wnllal eilltlng, thor- r»ry ?fhlttng "are':m<>D* th* P«-es

f'rHud# la r minor; I»ontluf|r In a- Pan- tj.no* in ► ; lWiuflo in C. Tlip transrrT^.

..*,nn**rl»n March" hr Ho?. itSth from ; Hymphoojr NX r* r>v IMhorra, K«»manxr by Mozart '*-\dAfrW

it *„th * han,i«,"re'y

Mastering the Scales and Arpeggios

By JAMES FRANCIS COOKE

Price, $1.25 This book enables tbe teacher to start

scale study with very young pupils and carry it on to the highest degree of pro¬ ficiency with advanced students. It has original features contained in no other work. Including a preparatory section, tonal¬ ity exercises, radiating exercises, velocity exercises, the story of the scale, complete arpeggios.

Tills work contains all the standard scale and arpeggio material demanded for leading conservatory examinations, making it by far the most comprehensive and thorough tech¬ nical work of Its class. It may be used with any system or method without Inter

Choir Book for Women’s Voices A Collection of Sacred Duel*, Trio* and Quartet*

Edited by E. E. HIPSHER

Price, 50c.

r«teM,rs.,r»^r£ i in re are twenty numbers In nil The ni„n„

*ehorIr«d Ir„r ?,"‘,\,rl0 °r nunrtet wo'rk. or oirt* An or .ln tvL? threp or four

eontrlbutetl toVl^voTume'd,rPct"r'i havp

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,h*r Sn,or"*Oton about New Work, !„ pre„ lee "

SEND FOR BULLETIN 1 ITALIAN OVERTURES FOR FOUR

HA NOS. salon album for piano solo.

1 Vol. I,

'Publisher'* Note*”

Theo. Presser Co.t Philadelphia, Pa.

STRICHt ZEIDLER

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PIANOS

the ETUDE

a MONTHLY JOURNAL FOR THE MUSICIAN. THI MUSIC STUDENT. AND ALL MUSIC LOVEKS

Edit'd l.v JAMES FRANCIS COOKE , t -,r. eric*. (I SO err rear l« I all** SUM Mkta, taka. IWB. torn.

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THE ETUDE will he roniinsrd

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TIIE ETUDE. Write on one aide of On- sheet o«l». L'nnlrll.utlons on nni*lc-t*achlng »nd n.o«lr ».udr ere eollelted. Although every poeelble ear* l« teket the pnlillnhern are not reaponnlble for meDOsrrlpce Jd photographs either while In tbelr pownaiWiei »r IB tr.inslt. rnavallable manuarrlpts will be retoram

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TBIBI

Entered at Pl.llael.-lfB n P. 0 Copyright. IMS. by Theodore PrB

CONTENTS “ THE ETUDE"— December. 1913-

M.rr vrint'o. tin

Alt'

Teachers and Scholars Both

842 the etude

Substantial Rewards for Those Who Assist Us in Obtaininq New Subscribers to THE Etude

The awards described below are unquestionably the most substantial we have ever been able to offer to those who assist us in obtaining new Etude friends. Every music lover has several music loving friends who would readily subscribe if shown the immeasurable advantages of receiving The Etude egularly. Conditic Conditions—Subscriptions must be for one year the full price of $1.50 each. They must be sub¬

scriptions other than your own except when stated otherwise. Canadian subscriptions, J51.75.

JEWELRY

Solid Gold Lavallieres

Lavellieres are the most popu¬ lar articles of jewelry at present in vogue. The designs shown here were selected for simplicity and attractiveness. No.486—2 subscriptions. Solid gold,with large amethyst and four small' pearls and one large baroque pearl. The pendant measures one , and one-quarter inches. No.996— 3 subscriptions.Unique ' design (not shown here). Ame-

k thyst, one small pearl and large J baroque pearl.

No. 997—4 subscriptions. Un¬ usually beautiful. Large bright

No 997 amethyst. Seven large pearls. * 4 subscriptions Solid gold.

Solid Gold Shirt Waist Sets

No. 988—2 subscriptions. Set of 2 beauty pins. Pop¬ ular chased design. Solid gold. No. 999 —3 subscriptions. Set of two beaut)- pins and one large bar pin. Design same as 998.

Solid Gold Stick Pins These pins are suitable for either lady or gentleman.

All are solid g1

Indispensable Music Works On« Subscription j Two Subscription* (Cool*dl

1M Alba* of Lyric tl

II? Lillie H.W ruy-r

\ Cwtot. Op. T*. Coaiplrtfc

No. 999. No. 1000 Ho. 1002 2 subscriptions 2 subscriptions 4 subscriptions

No. 1015—2 subscriptions. Plain but effective. At¬ tractive red stone. No. 1000—2 subscriptions. Plain circular effect, that is now very much in vogue. No. 1001—3 subscriptions. Very brilliant, pointed flower pattern, with small center stone and five pearls. No. 1002—4 subscriptions. This pin is unusually attractive. Has four large pearls and brilliant amethyst.

Solid Gold Bar Pins It is not possible to show in the illustrations the un¬

usual value of these bar pins. They are solid gold of very attractive design. Size 2}4 inches; safety catch. No. 482 is in old rose finish; No. 980 is brilliant finish • No. 981 (not illustrated) is all chased design. Select any one for 2 subscriptions.

Ladies’ Gold Cuff Links Jid gold but of excellent gold

filled stock, and will give satisfaction, besides being neat in appearance. No. 1003 1 subscription. Plain gold, dull finish. No. 1004 1 subscription. Chased design.

Music Cabinet

No.585—15 subscrip¬ tions. Height, 41 width, 20 in, ; in depth, 13 Jaj in. Choice of mahogany or oak top and front. Sent by freight, collect.

Ladies’ Writing

Desk

No.584—15 subscrip¬ tions. This attractive writing desk has been one of the most popular premiums offered by The Etude. Interior compartment contains a number of pigeon holes for stationery,etc. Furnished in mahogany or golden quartered oak. Height, 40 inches; width, 28 inches; depth, IS inches. Sent by freight, collect.

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*, lI -™ u,tr*t,oMudhu

Sterling Silver Picture Frame

No. 502 — 3 subscriptions. Beautiful rich oval pattern, 6H inches on easel. Entire front

frame and easel covered with plush. This is one of the hand¬ some articles found only in first- class jewelry store*.

Silver Bon-Bon Dish

No. 688 1 subscription. This silver bon-bon dish will be excep¬ tionally- useful. It is of novel and attractive design in Britannia

luadruple silver plated. The

liver plated. 1 lined with

tin finish. Diameter of bowl, 7 inches.

j SIS Sto.Jy Sarto. T l. fclarl. Ladies’ Watches

No. 1007—10 subscriptions. 10-year case, 7 jewel, Swiss lever movement; plain polished case. No. 1009—12 subscriptions. 20-year case, 7 jewel, si' pendant, plain polished, et

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e white diamond.

No. 635 Premo Junior, Model B 4 subscriptions Is of the bca t; pc with uni¬ versal focus lens,the simplest instrument for picture mak¬ ing devised. Produces excel¬ lent results. Size of pict ures, 2}4 x inches. Loads in daylight with the Premo-film pack. Sent by express. No. 636—Premo Junior No. 3 — 7 subscriptions. Pictures, iyix4\4 inches, otherwise same general con¬ struction as No. 635. Sent by express.

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- Solid o.k esse, reliable move 1 ment, entirelv enclosed in metal case. Black figures, E ivorv-white dial, brass centerpiece. Sent byexpressor | freight, collect. . ( 1

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No. 640-2 Subscriptions. This pen is of a veiy F attractive desiitn. being especially suitable • Made bv a celebrated manufacturer of fountain pen?- j Has 14 kt. gold pen, with two gold bands. No. 641 -3 subscriptions. Self-filling fountam pen, ; the self-filling attachment being very simple operate. No possibility of getting ink on the hand, [ 14 kt.gold pen.

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Music Satchels

Half Sheet-Music Size No. 563 4 subscriptions. Cowhide, smoo

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unlined, with handles; black, brown and tan. No. 564—4 subscriptions.

COl®r’' Full Sheet-Music Si*e ^ j

• No. 565- 5 subscriptions. Seal gram. « |v.lB ’ handles and leather-bound edges. Bla ^

No. 566- 6 subscriptions. and brO*»‘ handles; holds music without folding, blacK

THE ETUDE DECEMBER, 1913

CHRISTMAS CHEER FOR MUSIC WORKERS.

Crimson holly, fragrant pine, altars gleaming, soaring incense,

I belfries singing, the laughter of children, horns tooting, steaming

plum puddings, presents for all, carols everywhere—which of these

is your symbol of Christmas?

I When you think of the cheeriest holiday of all the year, what

is it that defines the festival for you?

Do you seize the symbol and evade the spirit of the day?

Do you put on the habit of Christmas as a disguise for your

real self or do you admit Christmas to your soul and make it a part

of you ? Let us hope that you are not in the place of the little boy in the

New York tenement who could only remember Christmas as “the

day when the janitor smiled." Are we, musicians, with senses quickened by the most spiritual

of the arts, blindly following the maddening race to keep up with

conventions? Are we forgetting the higher significance of our

being? Do we parade in and out of huge department stores buying

trinkets and baubles to lay upon the altar of the God of Custom?

It was not Custom which made Christmas the feast of giving—

for giving is the veritable symbol of Christmas-the highest ideal .

in the life of Christ. , , Boundless generosity, limitless kindness, the ambition to help

others in all stations, the forgetting of injuries atiduijustices-these

. the dimensions of Christmas-alas, that it should endure for

°n,y ZX ^H-year Christmas with the P-p. “~er

ye would that men should do to you, do ye even so ,, this wonderful idea we are made alive to our oneness wt^ all °toer

. It would make not a festival of sermons and sentiments. #Slle J?’ are like charities, deeds of goodness done for the joy o m ’ ble by Brownings -grand orchestral silence of the ^«« ”°bte 1

far than those acts of which the public ^ay without the giv- There is something tragic in thejP™trof your

ing of the love which should ST’"1'' S', doy..wha, everybody

character, your integrity, your ” la „e cire|e of friends else is doing?-- The mnsreran nattra% to a Wg. ^

and Christmas offers bun a sP!en^jJ • ^as remembrance shall be? How shall he decide what his Cl ‘ , . give that will Simply enough. Let him ask himse ^ wiU realize that the

bear with it a message of human lo . g love wm grow m

more friends he can find to reman own Christmas will be. The his own heart and the more glorious timent but if it is the musician’s gift may be only a song or ^ ^ reaj Christmas

measure of his bounty and is sen receiVed with the

Cheer radiating from the donor s ea . time than at any joy that binds real friends closer at Chnstm

other time of the year. nTTR FRIENDS “THE BEST AGAIN WE WISH ALL OUR ****

CHRISTMAS EVER.

keeping IN TUNE. _____

‘ but few have any idea how spiritually. It « e—mentally, morally, 5 “„e. 'we arc not l.vmg m thing in the world to ge the day’s work can ea - ’• and the strain that comes with ^ ourselves so that

VOL. XXXI. No. 12.

we may prevent it. When the first little bit of trouble sets up a

discord that lasts in your soul for an hour, a day, or a week, the

time has come to tune your whole disposition.

None of us want to be walking discords. We all want to keep

in tune. This is shown by the immense success of Ralph Waldo

Trine’s book “In Tune With the Infinite.” Thousands upon thou¬

sands have been sold and every copy has brought happiness, con¬

tentment and a richer, broader life. Mr. Trine’s work helps us to

readjust our discordant lives by making us less self-centered, by

giving us faith and putting us “in tune with the infinite,’’ It takes

us away from the humdrum and shows us the clear blue sky. We

recommend it heartily to Etud£ readers who wish to keep in tune.

What is simpler for the musician than to turn to his,music and

by playing as he did when the first glow of art enthusiasm came into

his work, retune his whole character? Even if it does no more

than make you forget for an hour or so it will help you. Throw

your whole soul into it. Enjoy it to the utmost. All the time your

mental and spiritual being will continue to readjust itself.

Perhaps the greatest function of music is that of keeping the

world in tune. Blessed is the man who can go to his piano at the

day’s end and chase away the discords that breed in letter files, con¬

tracts, bills and statements. A Haydn sonata or a lovely Schubert

song may be worth far more to you at some crucial moment in your

lifeThan all the algebra, astronomy, or Latin verbs you have ever

studied. If the mucic in our schools can contribute this to our

everyday life, why is it not as necessary as learning the depth of

the Pacific Ocean half way between Kamchatka and the Straits

of Magellan? Can we not sometimes realize the wisdom of the

Oriental who, having two loaves of bread, sells one to buy hyacinths

for his troubled soul? The education that merely gives us bread

and makes no provision for the simple beauties that bring the glory

into life is a very poor education indeed. Overloaded stomachs and

souls out of tune mean a miserable people.

in tune-

easiest t....

a paradise

It is difficult for those who have never written or composed to comprehend how eagerly creative workers seek propriety. 1 he

eternal fitness of things seems to be very easily grasped by some

workers with the pen. Others who have the fatal shortcoming of

just missing the word or the chord which good usage and fine

taste requires are those whose works escape greatness. The making of strong and enduring pieces of literary or musi¬

cal composition is a process that defies accurate description. Just

as the foam of the sea is tossed up in countless different shapes

and colors so words or tones are thrown up in the mind of rhf crea¬

tor His sense of propriety informs him what is most beautiful

and he records that if he is fortunate enough to catch the fleeting

inspiration. Training may develop his sense of propriety but the

natural talent must be there to develop. Mendelssohn in his Songs Without Words never tried to make

them anything other than what the name implies They are al¬

ways Songs. Some of them were published as Melodics or Ro¬

mances but those who know them realize how much better the title

“Songs” fits them. They are unostentatious never seeing extrav a<xant effects or pompous climaxes. In fact, even in England Xre they attained such great popularity, their very Simplicity

and lack of the style which panders to lower tastes kept them on

the shelves of the music dealers for years. In fact, only 114 copies

of the first book were sold during the first four years, while thou¬

sands of pieces long since forgotten were then being sold. Men¬

delssohn’s sense of the appropriate was what has kept his works

alive for over half a century.

S50 THE ETUDE

SZ&fszss. V..Vlv^\01 ^5^t &\i*.\ ysS>

Concise Index of The Etude for 1913 (Only a few Leading Articles are Given Below)

Leading Articles [Editor’s Note: Owing is not possible for us _

.valuable

limitations ol ■rive ah entire_

il interesting

Missed Lesion Problem.

Modern Masters in Russi

{ July! I Aug.,

- .-„ . .^iubuic «IU iueejesLiug MoSZKOttSK ;les that appeared in The Etude during the flog*** *“ .

'ear. The following index-includes mainly - „ the (reader is likely to w . , „ refer again and again.] Musical i’ennu Accent...... , . :A. Batchellor, Feb., 100 Names, of Fam< Accompanist, The Long-suffering, Natural Progri

Annie, Pdtterson, Nw., 780 Altschuler, Modest, i

ship..If. f

. Ross, May, 220

1. Parris, Apr., 255

Wlsdbm of Mendelssohn. Wisdom of Schumann. Wisdom of Wagner. Wooler, Dr. Alfred. /flcuv’s Memories of Liszt.

MUSIC Piano—Two Hands

Andrus H. J., Light Hearts..... ■ (Cunning Cupid.Sep.,

Anthonv, 15. K... < Fairies’. Carnival. .Mar., Ur*orir» ,./ Aprfap. May,

..July, 471 Seharwenka. X., iturcarolle.. Schmoll, A„ Hack ng ■ Echo'.'..f""

Scliotder, D. | ■■' $

Schubert, F. -| Impromptu No. »' [ HomCHt Htioicnl ’

Schuler. G. S., Th, schuman

Mar., 167 745 ;eur String Quartet..//. I). Hewitt, Oct., 745 qi-i vinlins

ireat Pianists NervouAJ. C. Hadden, June. 398 onlv the Best ''' VPlVht. Dr i I? far III .Inn 1.1 J ' T?e £?ht * * *_:

’ .June! 404 Armstrong, W.

Operatic Plano Transcript

J. Decnee, May, 332 ’. N. Bunker, Oct., 694

. July, 477

Bach’s Simpler Works flack, Physical Drill fo Borodin on Liszt... Bowman, E. M., Death of.. Butt, Clara, on Concert Sii&ing.... Feb., Cahier, Mine., on making a European Career... Sep.,

Camp, John Spencer........ Feb., Chopin Preludes.Mrs. R. Chance, Aug., Chord Analysis.T. tapper, Apr., Class Teaching.C. Q. Hamilton, Mav, dub Entertainments.. ..4. J. Eastman, Nov., C'ommoftsense Helps.

Orchestral Music

i. B. Perry, Apr., 254

R. law. May, 319 1 The Violin A. S. (Sarbelt, May, 2 The Viola and

— . 628 composers ana ronucs-A.Harris Nov., 772 Confidence in Public Playing,

E. P. Westlake, Nov., 778 Consecutive Fifths.J‘. B. Herbert, Feb., 97 Correcting Waste..4. Judson. Sep., K95 Curative Force of Music. .Mary War loir, May, Curiosities of Terminology,

F. //. Bond, Apr., 257 Decevce, E. J. July, 484 Despondent and Over^sanguipe pupils,

M. Brower, July, 475 E. E. cAyrt-

’Cello.. 3 Woodwind . .July 4 Brass .Aug., 5 Percussion ..Sep., 6 Complete

Orchestra. Oct., ...L. S. Ashton, Oct.,

. Demarest .Mav,

. L. Erb.Sep., i. B Gaul.Julv, . C. Hadden.... Feb., .. A. Mansfield. .June, .’ Maxson .Mar., . M. Wild.Nov.. ;s... L. C. Elson, Dee., :

' m-Aug., b Tonal Colors

L. C. Elson Apr.,

Developing Brain For Doorstops to Fame.. Dreamers, Sects and 5

—.-Expression.. r.., renal, anu \\ nat it Does, Tile,

II. D. Wilkins, Nov., Pedal Practice.J. Barms, June, Persinger, Louis; on Violin Study... .Jan.,

Berger, E., Berceuse. Bischoff, J. tV., The Garden ol Girls. Bizet-Lange, Habanera . BiOSe, J. M., L’Allegro. Brounoff, P., Piper in the ll’ooifa. L’afrefio, T.. Springtime.

( Prelude, Op. 28, ” •' Chopin, F.-J « •• ••

ristiani, E. F., false Impromptu.

Crosby. M„ Frolic in the Woods... Decevf-e, E. J , La Fiesta Dplmetseh, V., Petite Berceuse '... j". Dreyschock, a., Tender Colloquy... . Dvorftk, A., false Gracieuse. . .

I In a Black Forest Eggeling, C... -i Spinning Boom.

( Danse Piltoresque. Barcarolle... f Dashing Troopers.

Flagief-Ferber. Military Godard, B.. Bercrm Heins. {’., (Htana.. " >rvath, (!., Hunger ■ July, |

Ehrich,

Engelmann,

{Dashing Troopers.Aug., Mountain Roman,e... .Oct., Sweethearts Ever.lune, Under the Orange Bins-

T. Tap, .. A\- Ail JtAej, Sep.

DvorAk as I knew Him. .11. B. Shelley, Aug., 541 Ears that Hear... .Auberline W. Moore, July, 478 Educator*: Herbart.El E. Ayres, Jan., 23

■ Herbert Spencrr.Feb., 105 Efficiency in Piano Playing.

P. V. Jervis. Feb., 93 Ensemble Playing... ..If. .4. Go dlpiugi. May, 823 Errors in Print.L. S. Athlon, Feb., 94 Etude Jubilee: Special Issue..:.Jan., Expression, Terms of. .0. 3- M ait fit Id, Mar., 172 First Lesson after Vacati

17 Phrasing .Dr. Hugo Biemann, 4

S. Watson, Jan., 71

Getting a Start in Europe,. I July, 439 Ceritr Ayres, I Aug., 548

Getting New Business-..1. J. Eastman, Sep., 617 Codow, KV, Leopold, on the Place ’ol

Goodson, Katharine, on Mendelssohn’s Rondo CapricelASo... .Dec., 865

Great Minds and Music....F. S. -Law, July Hand, The, our Servant,

McQoMas, Jan.

Piano; Things to. Know.. C. C. Taylor, Sep.. Plagiarism’ in Music.F. Cordet, May, Playing for Friends. .,1. II. Lienhard, Julv, Positive vs. Negative teaching.

E. II. Pierce, Jan., Preserve Your Best Ideas.Feb., Presser Co., story of the.Jan., Puono bn’’ Daily Practice.Nov., Pupil Who Argues, The

U. M. Brower, Mav, Reed Organ Pupils..C. L. Chamberlin, Feb.,

. . .C. W. London, Sep.,

Farnsworth, . _ ... Ferber, R., La Roulette.Mar.. Frysinger, J. F ,A Mazurka Impromptu .June.

Kelly, F. J., hrst Reg, men t March.. ..Dec., fe Knelling, t’.. Hungary.Nov., 794 ’ .- Concert Polka.May, Sjfl

■ahr Espagnole.Dec., 580 Shadow Dance from

S.. So .Surrender.Aug-., 862 mu. Hungarian March. Min., 86

.Sep., m

Landing, A.

Mexerbeer.

mn 'idyl.

■PBL-- — —, the Cuckoo. 656 GSnschels, C., Festive Bells.Mar.. 321 Gillis, A., false Coracteristiquc.Oct.. Ai8 Glinka, M., Last Rose ol Summer. .. .Mar.,

j Giuck-Ferber. Gavotte Ironi "Iphincvii 23,] i„ Aulis” .‘.May,

lllj Greenwald, M„ Chimes at Christmas... Dec., _«63 Grieg, E.. March oj the Dwarfs.lune. <75 Hahn, H. D„ pledge of Lore.Aug., quo n®nde1, C!; F ' Dead March from

s Hand,v. E.'JH. Pierce, Sept.,

Hands of Musici Harmonics. Harmony for Having Thing Health and 3

It. J. nncK, oct., He Knew the Alphabet..!?. « 'W. Sep., Help from Well-Known Tear hers. .Oct., IIB.NSCHEL, Dr. George, on .Recollections of

Famous Musicians.,-.....-...Jan., Holding On.D. .4. elippttigor, Apr.. Home for Retired Music T-acher.s.. ..Jan., How Chopin Plated C’hppin. ..Dec- How Tunes are Made....,..#’. Carder, Dec.. Indian Music ..T. Lieurance, Dec., Jonas, Alberto, on Pianistic Progress. .Jan.,

.. .July, _, o Study, Feb.,

Law, F. S., Passing of..July. Left Hand Technic. J. S. van C’.evf, -Apr. Lhevinne on Piano Playing in Rtfesfa Mar., Lifting the Fingers. . . .F. RosrnihJU, Oct., Lully, Romance of... .<?. 8. Barns, Aug., ifakine a Start....®. Estelle Moore, Jab- Making Recitals Attractive.

Harrietts ,V.- Brower, June. Making Teaching a Pleasure,

F., Berthe, lfahn, Nov„ Malibran's Story. M. Beckwith, July. Marchesi. Mathilde, on' -Truths "for

Singers .t. Oct., Martin, Gep. Dudley...Jan., Mason’s Essential Principles.

Organ Studv._. Reminiscences of Jeniiy Lind.

G. P. Upton, Dee- Road to Soecess (cartoon).Oct.. Rubirtstein and Tschaikovksy.Mar- Iltissian Composers: Biographical LiSt.Mar., Russian Pianists on Piano Study_Mar.. Russian Piano Composers. f Mar.,

J. de Zielinski, [ Apr- 483 Saint-Saens on Thoroughness..Dec.,

SaiNT-SaEns’ Recollections of Rossini.June, SclmihAnnland..7. S. Watson, Sep.,

f Jolly Bio

Hi s7ir

I Morn..

. __w MM -a Teacher-

..B. Bralne, Apr., 291 Service in Teacbin". .. . G. Cole, NOV. 779 Shall Slusic Teachers be

Silver, Dr. Alfred Spirit of the . Wait Staccato Bowing... Stimulants and the Volt

J. 15’. Andrews, Aug., .Oct-

■ ,C. Johnstone, Aug— Braine, Oct.,

d. C. Hadden, Aug., 581

Hemaiin, C- The Spini

Ilinbky,' A- ’ Berceuse. Janon, C. _„ Jensen, A., Elfin Dance. k ern c \V i Crystal Spring. . wern, u. n. , Mmar Arra Kowalski, H. 1 Roses de Boheme.

( Marche Hongroise Kullak, T. j ° _r Lack. T- Pendant la false'.'.'. Lapome. P- Bohemia. Laroso, G., See.ne de Ballet_ LaivallCe, C., The Butterfly.. .. Lieurance, T. } Lady’s Port

•..Feb.’. ..Jan., ..Sep.,

.June, lie Rubinstein, A., Trot de Covalerie... .Mar.. 188 Schumann. R- Knkcht Ruprecht.Mar, 342 Wachs, P., Capricorn■.Feb., 11!

337 Bischoff. .1. W., Good Night, Sweet ) 882 Dreams .JIar., JK 4d8 Brahms. J., The Little Dustman.Jan., ,51 572 Cadman. C. W., The Shrine.Au»., i‘>

Camp. J. S- Too Late.Fen., lg 117 Chanman, G„ 11’ftVs the Angels Caff..Apr., 4S5 Coombs, C. W., Bedottin Love Song...Dee.,

Doweev. K., Alone.Mav, IH 645 Ellsworth, O- Come Plhy with t’s....Dec., M 804 Galloway. T. B- The King of Dreoma..|uh', (N

IS »■"">- v- v- ttrssdJ? *?:■&* i ii-> Hazelton. W. B- Twos the Fragrant 660 summer Time ../..June, * .-,74 Hildaeh. E- My Sweetheart is a it fever .Jan., 4*

e Blossom ant ...Jian Suite ■■■.

r Lore Bong, a

i Rubinstein’s Barcarole,

Schubert’s Momer

Sbhumahn's Nac

18 Stojowski on , -AiuMoale

865 SToJowski oi 887 in F tOL,..

Stooping to Conquer. . .-1/me. Pupin, Jaii , 21 Summer Vacation Work.June,

515 Sure-Fingered Piano Plating. 91 „ D. G. Mason, Julv.

483 Syncopation...E. Hanson, Nov- 250 Teacher’s Attitude, The. Jq’c - Anne G. Mahon. Mav. tan Temperamental Playing. .E. R. Iiroeger, June, o90 Then and Now.;.jan.

18 Thought Habits..../?. M. Brcithaupt, Apr- Tolstoy’s Love of- Music.,iune,

399 Tone Production.E. Hughes, June, Trills (violin) .R. Braine, June,

511 l:P,ift from Master Minds.Oct.,

Lieurance.

Lillebridge,

Petrie, H. w. -; _ l Star of Mu Heart. .

Powell, A- L- A LitUe, UJ"-r-M Rtlbfrtstc' -’ ’ ”

Martin, G. I Mendelssohn,

)e Capstan..

TwiiouV.'.:

1 Courtly Dance I false Piquant.

’.. Rondo Capriccioso.. . . . . Feb., ... Mav, 5. .Jan.,

-. T ■; Weaver .fi I .Vu Spanish Rose.OcL. <»

je. F. M., Fqir Lady.Sep., «« f Beyond the Open ...

J Gates .AUI.. 57* Heart-July. 5» , Maid. .June, «*

.. Thou’n like until d ^

ScimlVerC F- Marnjjiy Greeiinjj.. — . ■

TrurjOe. H- I'ou are the Atk aa oj all My Dreams.*

Woofer. V, Flower Maiden. ti . 47- W" ~ Worthington. Amy T- Two Scotch jjj

Songs .apr”

Bach, J. i— Ot . Djtntier-Molloy, Low’s Did

Violin and Piano

Dltmier-Molloy. Low's Old Sweet sof.g.y 47 ISrahtne-Joachim, Hungarian Dance, No. »

oj Pries

Vacation, The Musician's, T. L. Rickaby, Aug.,

Lore,fell, Feb., I. Cummings, Feb-

Master Study Page:

(Bach . Berlioz .... Bra Imps Grieg ..... Handel ....

Rubinstein Schubert ... Schumann ..

.. .Jan., 27 Variety Verdi, Giusenpe Florent

t, Nov- 778 Vibrato in Violin Placing./?. ..Dec., 863 Violins in Repair . .Nov., 789 Vitalizing the Prai • 26 W. E Snyder, Feb-

• unc. 407 P. D. Aldrich. Sep. . . I'Pi)., 103 j >. A. Clippinger 'r

251 Voice Departm

19 Motar, C- -j Fantasia 256 1 The Mill . 396 Mozart, W. 401 «, H- , 441 (tewhler. L- Azure Dream

tki, H„ Fantastic Talc...

%

Pptrie, IL

g£! Drdlh. F„ Souvenir.Nov., ' Franz, A- Mcnda'inqta- Parker. H., King Lear and j _

jenny Lind, Artist and Woman Personal Recollections of the Great Singer

By GEORGE P. UPTON

(ETi'tJE readers arc fortunate u, having for perusal, and imervation so excellent a descriptive and biographical irticle as that which Mr. George P. Upton has prepared m them. The article, together with the b'cautiful Etude mier of this month, makes this issue one which all music \uers will seek■ to preserve. Few indeed, are the critics who

remember Jennie Lind, Mr. Upton, despite the fact that it is now in his eightieth gear, writes with a fine rigor ,1 which ana- younger man ; might be proud. His life¬ like of experience as an author and in almost every branch ,r, editorial work, from that ot the reporter -* lial of edit" *“ ” \ Ijj" given h

ir in-chief tfJ t ...__ ... _ large daily paper ini a,,,,. ,„... a kind Oj universal outlook up. #ll' o/ which contributes to his interesting articles. M to impress upon our readers " J foe pne—Editor of The Etude.]

.. .- We t this article is a

■Dec., t .July, *

, and Mutilated Diction - ■ J. Towers. Aug- 682 Wltpn to „„ -

ime and its t'scs.-B. B. Pierce, July, 483 Wisdom of Liszt.

JENNY LIND'S ARRIVAL IN NEW YORK.

I I count it the supreme musical felicity of my long life I 10 have heard Jenny Lind sing. Making all just allow-

ances—for the enchantment which distance lends to the new, for the enthusiasm of youth, for the fact that she

1 *35-the first of the large flock of singing birds to come ' fro,n.Euroge to'this country, and for the popular ex-

otenynt \vftich was contagiously frenzied, she still rc~ I ua'ns tt,y oiiie peerless singer. In the words of George

*'jlliam Curtis, which lie wrote, when Jenny Lind was a memory: “The youth of her day have borne lier

J ln their hearts across a generation and their hearts I S’'H rise at tile mention of her name as Le Gante 11 , K°' sP7ang up cheering to their feet when the Queen

approached.” [ have borne her in my heart across two | Rations and she still reigns supreme for me a

cen °f song and highest type of womanhood.

JENNY LIND’S AMERICAN DJSBUT.

e recording my recollections of Jenny Lind, Jet

^ state in brief The'sta'tistical features^of bor Ameri- ^'ours. She arrived at Xew York September lj f’• heing then in the thirtieth year of her age, ami ?Ve her first concert at Castle Garden, September IL 'r supporting arlists being Sir Julius Benedick b £ ^ S,gnor Belctti. baritone, and Ktcbard Hoffman, t., P'au'st. who was specially engaged in New Z ,he tour. Her numbers on the program of the T^niC? concert were the Casta Diva, from • r ;

licet of

Song; and the W/lctmt to America, the text writtei by Bayard'Taylor, ^nd the music hastily conuu-,.! f., the occasion by Benedict. She als(J sang »ut, Brim in the duet, Per fiiacer alia Si^ra, from Rossini' Il Turco in Italia, and in a selection from Mexcrbct r' Camp in Silesia, for voice and two Uutes. During he first tour, under Mr. Barnum’s management, die san, in the following cities in the order named: \c» Vorl Boston, Providence, Philadelphia, Baltimore. Washing ton, Richmond, Charleston. Havana, MaUttza-. Vcn Orleans, Natchez, Memphis, St. Louis, Nashville. 1.- ,.ii ■ ville, Cincinnati, Wheeling, Pittsburg. Philadelphk Baltimore and New York. After cancelling her cor tract with Barnum, whose managerial method-, wet distasteful to her, she gave sixty-two concert-, betwee June and December of 1851. The various premium paid for first choice of seats durin-; the fir-i tour wet as follows: New York, $225; Boston. $625; l’u . dence, $650; Philadelphia. $625: Bal’imore. ?1«Ki; Nc Orleans, $240; St. Louis, $150; Nashville, $200; Louii ville, $100, and Cincinnati. $575.

JENNY LIND’S VOILE.

What of Jenny Lind, the singer? She had a '■ ! of exquisite purity and brilliancy and at the same tin’ sympathetic in quality. Its tone was so pure that In faintest pianissimo was distinctly audible in the large concert-room and at the same time so full and powc ful that she could easily cope with the strongest <> chestraL accompaniment. Her upper regiMcr was urn sually rich and effective, hut her lower did not < respond in quality—a defect which possibly may has been caused by the temporary l"‘s of her voice whr she was studying for the operatic stage, and yet In blending of registers was so skilful that was noteasily noticed. There have b greater power hut not of greater purity, mete imw been singers who may have excelled her in this or that feat in musical pyrotechnic*, hut never one wlv. used technical display more judiciously and inulh- gentlv. for she never indulged in these feats of voca skill for mere show or to win applause. She mtrodui<•<! them, especially her cadent, which w. re her own to enrich and complete the song, and in such an ar is c manner as to carry out a conception of the and symmetrically embellish his miis'C. TTey were p

parently spontaneous and free n. ne of the study, much less of effect Indeed^ she had non« Of the affectations of the stage nor was s' . ing effects deliberately or the .l.’fh «•« m.micr, I-

ing- HCr STcS Third The seemed "o' ring' more

ST i SJJSS

-J. am .Li i. - so With -such mAlluencc }| ^ cinb0i|i.l,mcnt fit into'ihk so"* » \ a,I)W jls charm tha.

Pfrfect that she sustained

Summing up her quailn • nM1.,rka- voice united strength arn d finiia, ], hid hie .legree. It was fm lIjr},Si delicate refine-

ment, and hacking . Krv<.na1itv <<( the

..i singer, as well as a

the principal charm incapable of ' ^ggcratjon. Betic k ^science of her mu rich, musical fndownient v

infallibly pure and t charm." And I.ablac heard anything like I

Her songs will ever sound in my heart." And McndcU- sohn: “She is as great an artist as ever lived and the greatest 1 have known.” Surely these should know.

JENNV LIND AND ADELINA PATTI.

In making a comparison of Jenny l-ind as a singer with one of our time ihc name of Adelina Patti mcvit- ably suggests itself, and the comparison is all the more apposite because Patti, when she was a girl heard Jenny Lind sing anti imitated her, and when Jenny Lind heard Patti she predicted she would he a great singer. If not the greatest artist, I*atti was unquestionably the supreme vocalist of her day. The difference between the; two singers was principally that of personality. Patti had perfection ami facility of execution, her tone

of her noble c coarseness, pert d or r ,icat e

clear nd s

fHDIlc. 3cnng CinS's

THEKD } SJ.Q’SUZ DKV.ZZ--.

» Tlirtia.i I tunluv, KfjilewWr IJih, IHjtt.

Iris ■ Sb» P.m,i»s

e.k. .. t tritmlBU.*-* la Mwfc, ,l« I'-rikt" L

ll.U.b, -’’Uk' titifr£ow. "* ’ t

eat#.. IS*-/• - . nmttmnk " “‘-Vt

>ti* Wf; 1

S50 THE ETUDE

Concise Index of The Etude for 1913 (Only a few Leading Articles are Given Below)

idling Artkte .m l ^!^=i I

s —.-::lc.-.- “• .

BHRSKS;!: I SI

mtmmi S i p <» THF-& ” i'll Sr*1

» . ,. :pMI

; § f:jllpf 1 § pta*'"e »**.»—.{§ | 11 jfe?

SEip:^| i iiHSiHS

Etei^E4$ *?: iaag»±£fH& 2 ;u S}5SJl

*SSussi* rrS^iS s

§SS§ii

ill.r« *■..,e. SL“ftE£: s W,M11 Sfilsl I

852

have eclipsed Adelina. In all roles requiring grace, ele¬ gance and ornateness of vocalization, either Terlina in Don Giovanni; Rosing in The Barber of Seville, or Violetta in Traviata, Adelina was incomparable. Theo¬ dore Thomas once summed her up in his terse way to me: “Patti’s voice was of delicate quality and great clearness, easy in delivery, and true, like the song of a bird, but it expressed no more soul than the song of a bird.” Therein lies the difference between the two artists. It was the personality, the temperament, the indescribable charm of quality and nobility of soul— in a word, the woman behind the voice that fascinated you in hearing Jenny Lind sing. With all her vocal ability and abundant resource it would have been im¬ possible for Adelina Patti to sing / know That My Redeemer Liveth, for instance, as Jenny Lind sang it, and who that ever heard Jenny Lind sing Handel’s triumphant aria can ever forget it? Equally, who that has heard Patti sing Ah! fors e lui, from Traviata, or Ah! non giunge, from Somnambule can ever forget it. Happy those who can remember both. I hope I have made the difference between them clear. Lind was a lark that soared with the blue with her song; Patti was a delight¬ ful warbler among the flowers in the garden.

JENNY LIND, THE WOMAN.

What of Jenny Lind, the woman? I first saw and heard her on the evening t>f October 7, 1850, at Providence. I was a Freshman then in Brown University and the whole student body had caught the Jenny Lind fever. No artist in musi¬ cal history ever received such a popular ovation. It can only be compared with the reception of Kossuth, when he visited this country as the champion of Hun¬ garian liberty aqd of General Grant when he returned at the close of the Civil War. She was escorted from the pier in New York to, her hotel by thousands of people, under triumphal' arches erected in her honor. The stores were full of Jenny Lind bonnets, gloves, coats, hats, jewelry, bric-a-brac, and fineries of every description. Her portraits were in every shop window. The choice dishes of hotel

menus were a la Jenny Lind. There were Jenny Lind stages and steamboats, cafes and coat rooms. All the

girls of that day imitated her coiffures and costumes and many of them sought to imitate her gait. One enterprising hardware dealer advertised “Jenny Lind teakettles, which, being placed on the fire commence to sing in a few moments.” And this not only in New York but all over the country.

HER PERSONAL APPEARANCE.

When that red letter night came, the staid city of Providence was in a condition bordering upon delirium.

The hall was jammed and'thousands stood outside hop¬ ing to catch a glimpse of her and mayhap hear her

voice. I see her now as. I saw her then, a girlish figure, medium of height, with fair hair and light blue eyes, gowned in velvet, wearing a rose in her hair, and de¬ void of any other ornament. Her features were plain and somewhat coarse, and in repose there was a lack of symmetry, but while singing her face was most fas¬ cinating. Her whole figure seemed expressive and a serene look of goodness irradiated her countenance.

Her gait was grace itself, especially when compared with the hobbled feminine waddle of the present time. She seemed to float rather than walk up the stage to the footlights. There was music in her very looks and motion. Her presence, ks she quietly and modestly ac¬ knowledged the applause of the audience, gave the im¬

pression of womanly dignity and grace combined with

a child-like naivete and enthusiasm as if she enjoyed the scene and the privilege of singing. While delivering her songs her face seemed to be transfigured and to gain a beauty which was not manifest in repose—beauty of soul and reverence for her art. There was no dis¬

tortion of face or exaggerated mannerisms of any kind. She sang with a serene look of goodness and most win¬ ning smile and her reception of the almost frenzied en¬ thusiasm of her hedrerS was modest in the extreme.

Modesty, indeed, was one of her strongest characteris-

THE ETUDE

It was stated at the time that Barnum’s flamboyant methods of management were very distasteful to her. Upon one occasion her husband, Mr. Goldschmidt, was reading to her and came upon the word “humbug.” Puzzled by it, he asked her what it meant. She hesitated a moment, then Suddenly smiled and said: “Oh! I have it. It is what Mr. Barnum is.” I do not think she ever fully comprehended why people were so excited about her, though she enjoyed the excitement in a child¬

like way. Jenny Lind had none of the modern sensational ad¬

vertising methods so many singers employ for self-ex¬ ploitation. She was a very simple, practical, domestic woman, fond of children and domestic duties, and took her sewing with her when visiting friends. She had all the characteristics of the plain woman indeed. She had no matrimonial scandals, no superstitions or eccen¬ tricities, no hair-breadth escapes, no jewel robberies, no

menageries, no oddities of dress, none of the press

HOW TO COUNT TIME.

BY AMOS N. WAYNEt - !

T Teachers are almost unanimous as to the H •

of counting, and counting aloud Verv f?"ra% give their pupils an idea of how to count place the counting should not be shoutine the firsl teachers seem to imagine. Shouting the co,™ man! annoys the pupil. One of the best wavs „ l-otl) teach counting is to take the pupil beside Ihed*! the room ,n which the piano is situated anrlh, , pupil count several measures. 1 used to *** the pupil had counted for five or six minutes ^!

evennpcc_ ._i .

the etude

Thoroughness in Music Study An ii.terview obtained especially for The Etude by G. Mark Wilson with the Greatest Living French Composer

CAMILLE SAINT-SAENS

853

iKmtor's Note : To mention the name of Charles Camille nt-Saens to an expert musician is to elicit immediate

Smations of delight in the modern French master’s "...L-h wr nr Irma nshiD. Tb stopping. This gave an idea of evenn^c S Wlthou! Serb workmanship. The pianist is equally enthusiastic over

tl „ i i , ca oi evenness-regulari* 5, ahllitv at the keyboard and those organists who recollect Then 1 used mental pictures to help the chiM’, I Smur heard him play their instrument are loud in their d mental pictures to help the childW < K» him play

would call to mind the regular!^ ft fe °the°imml< ination. i wouta can to mind the regularity nfT pickets in a picket fence or the regularity 0f the LZ on a checker board. Th.s seemed to help a grS Then I made the pupil see that counting was not Z — a count upon a few notes played at irregular inter

vals. but rather that the note was hunt upon the count. After this the pupil

“internally,”

— --— their versatile of all musi-

... ... _J the immediate past. In other days musters did not hesitate to exhibit their virtuosity with sec S different instruments. In this age of spocialis gjdan of the type of

Salnt-Saens v-““ l,n

mint18The latter* was very musical and gave the boy an .wplient ground work. latter he studied with Stamaty and 2. j— veil.* *’■- -«— »—•.—

._t-Saens is__ __,__ _in the Rue de Jardinet, Paris, Oct. brought up by bis mother and a great- -- - musical and gave **— 1— —

taught to count ‘ « the I'aris of other days. Among his pupils was Gotts-

— o. ..R..iany, as one ' ftulfc the American pianist. Saint-fcafns was sufficiently far

my little folks expressed it. I would take jr^agl^W^enTe^wLlw^ve^e0 S«oS“ out my watch and count to myself for 1 . l. -

msefourtecnr anSd* the first organ prize when fie was sixteen his attempts to capture the great Prlx de Rome resulted in failure Some of his friends have stated that his defeat had the effect of making double his energies and desire to become the greatest French musician of his time, and what seemed . _ ..t- Hum nrovofl a srrpnt hpn*»fiL t.n t.h« vonniz

twenty measures and have the pupil do the same thing, I keeping time by the watch. Then came a comparison tlui was often surprising.

The pupil should not count aloud I a misfortune at the time proved a great benefit to the young

the time. A certain part of the lesson should be devoted exclusively to listening to the tone at the piano keyboard. In no other way can the pupil develop a musi¬ cal tone, or if you prefer, a musical touch. Nobody wants to listen to playing that is not characterized by a line tone quality.

HOW THEY PROTECTED AGED

MUSICIANS IN THE SEVEN¬

TEENTH CENTURY.

It seems somewhat surprising that Salnt-SaSns should have filled in winning the great French musical prize, as he bad already written noteworthy works, and had had a symphony performed with success when he was sixteen years of age. His victorious rival was one I-gonce Cohen, whose name is now practically unknown. In 18o3 Saint-baens settled down to the life of the routine music teacher and organist in Parts, dirt of his time was spent in Niedermeyer's Esole religleuse, part as organist in the church of Saint Cecils. This was the -make or break” time of his life and, although he was burdened down with routine work he still made time and found energy enough to produce works, which enabled him lu rise above his condition and step up to real mastery. In I$58 we And him as the Organist of the Madeleine, lie most enviable positions *- -- aim,™.*,

JENNY LINd’s FIRST CONCERT AT CASTLE GARDEN.

agent’s tricks of the trade. If not extremely good looking, she looked good, as some one said, and that goodness drew every one to her. She was “Jenny” with every one, not Signora Lind, or Mile. Lind, or Miss Lind, but plain Jenny Lind. At this Christmas season it is pleasant to remember that she was full of the Christmas spirit, though it was not confined to the season. Her life was a continuous record of charitable deeds. Her first American tour, under Bamum’s man¬ agement, netted her $150,000, which she contributed for the founding of a hospital in Stockholm. She also founded a hospital in London, built a new wing for one in Liverpool, in 1849 raised $50,000 for charity by her concerts, furnished a scholarship to London, in honor of her friend, Mendelssohn, and her last appear¬ ance in concert was at her home in Malvern, England, when she sang for charity. She contributed a large amount in this country and in England and Sweden to private charity and no appeal was made to her gener¬ osity that remained unanswered—if it were worthy. Her married life was a happy one and she died at Malvern in 1887i in her sixty-seventh year.

Such was Jenny Lind as I recall her and as musical history records her. It seems to me that in a rare manner she combined religion, art, love, goodness and genius, and that she was actuated by the lofty pur¬ pose of using her gifts for the good of others.

"Her music in my heart I bore

Long after it was heard no more.”

_—Wordsworth.

wens nas written much dramatic music his Samson Mila has been so successful that it has eclipsed all other compositions by the master. His opus numbers run consid¬ erably over one hundred. Saint-Sagns Is distinguished as a musical c ritic and he has also given a great deal of atten¬ tion to the special study of astronomy. In 1892 the Uni¬ versity of Cambridge gave him the honorary degree of Doctor o( Music.]

Mme. Nellie Melba, one of the greatest of Jenny L.nd s successors, has given The Etude her valuable advice upon the matter of the training of the singer Among other things, she relates a method whereby the singer may know whether her teacher is training her right. This exceptionally interesting conference will appear in the January “Holiday” issue of The Etude It is one of the very best articles of its kind we have ever secured and rue which should be very helpful to singers, entirely apart from the great cclcbritv of Mme.

In the Regulations of the Saxon Col¬ lege or Union of Instrumental Musicians founded in 1653 there is an altogether ( unique provision made for the protection

of its older members. This organization had its regu¬ lations ratified by the Emperor (Ferdinand III) became very powerful. It regulated the fees its me* bers might receive, the education of the young musi¬ cian and even determined the boundaries of the moral conduct of its members. Its main object was to raise the standard of the musician and music. How it cared for its older members is indicated in the fol¬ lowing regulation:

“Since also one might dare to bust an old master ot our art out of his office, by what way or means, or tin¬ der what semblance or pretext, it matters no}, and t insinuate himself into his post, therefore any mao ^ _^_^_^ | seeks his own advancement by the above mentioac- . j have nQ r'e°”y^on Qf my “wn musical beginnings,

unseemly means, and ousts another, OUR college but if I may juc]ge the reports of others I seemed to dispossess, him and his assistants who ought to him, and he shall no longer be suffered in it- much as venerable age, if accompanied by wea easily falls into contempt (all the former 1°"? of great labor, pains and service being forgot youth generally preferred above it; if such. $ and impotency in a musician of great age, * j - „ musical taient. oumc r— . ^ , appointment, should be so great that he can t ^ naturally, others have to have it very definitely pointed his duties, or only with much difficulty, anu , out to them ♦v.-^.,,.i, *»,„ iheoretical books service of God and other attendances must nece* ^ be provided for; in that case some one sna jar: powered to serve as a substitute for theS^ nevertheless the ojd man shall enjoy half o and his share of the profits, and all ““ a, si- days of his life he shall be diily respected y ^ ^ ' stitute or coadjutor, who shall in all tlling (j, mi precedence to the old man, if he^is ,*1^

await the and kindly for the old man snan ."tijeb and regarded by everyone, and God Mos n surely one day reward him and repay h1*11-

theless, I was engaged in teaching sufficiently long to have been able to form some well-determined opinions upon the subject of teaching. I believe that a teacher should first of all be moderate in his demands and ex¬ pectations with young students. Teadiing is not like building a building with stone and steel through fol¬ lowing out a definite architectural plan. The little pupil is growing and changing all the time, and it is the part of the modern teacher to observe these changes and train the child as the horticultural expert would train a delicate plant. At the very outstart the method employed should be so carefully graded that new principles are introduced very slowly. The trained worker with children analyzes all his problems and tries to study them from the angle of the child mind. What seems simple to the adult is often very difficult to the child. The teacher who does not think may present the child with a most indigestible mass of difficulties and then expect the little one to assimilate it all at once. Difficulties should not only be presented one at a time, but the teacher who takes a pride in be¬ ing thorough will see to it that the pupil remains suf¬ ficiently long in the company of the conquered dif¬ ficulty. That is, the pupil should not pass at once to another principle after having mastered the one upon which he has been working. On the contrary, he should remain with the first principle and lie given abundant practice material so that complete mastery

or tne Mac™, vue ua will result. When, at the very first, the teacher is France. Although Saint- working with hand positions and Unger positions Hr He music his Samson et g|,onjj see to ;t that nothing in this connection is

left undone or uncomprehcnded before passing to the next step. A correct understanding of notation, clear ideas upon musical tone production (touch) should all be developed in turn. Nothing leads to so much dismay, impatience, or discouragement as the very com¬ mon fault which some teachers have in trying to give pupils too many things at one time.

SLOW WORK. BUT PROGRESSIVE WORK

If the teacher establishes a habit with the pupil that i work with conglomerate —““

: to tne oici man, . .. c doe5 wt - _ _

irt jftrf 14i1 yars !pent - ”d ’***

A man in the tempest of his passion lir--r the bounds of order and moderation; y lu¬ scious in his rage, and the tone-picture ^ his exceptional state. But as the pa- ^ ever be held under some sort of con r • sine- music, even when depicting the rnoSt. aw| na¬ tions, be subordinate to artistic Propr'e ‘ ajn offend the ear, but should still please an

sume vears spent in teaenwg c—. - , - resolved that I should develop my natural w-

fflts »> composition, and therefore I devoted the bet‘* of my time after that to writing music. Never-

w ft

THE AWAKENING OF TALENT.

The awakening of musical talent in the child is one of the most interesting moments in the entire hie career of the individual. With some music is mani¬ festly a gift. Those who knew me when I was little -- -

more than a baby say that at the age of two and one { speciali2ing upon c»»cnti»l points, half years I commenced to display a great interest in of work instead of speciaitzmg I

musical sounds. This, it seems to me is one of the surest indications that music was, in a very definite *ay, quite natural to me. Those who have oppor¬ tunities to examine children continually notice that while there are cases where the child becomes excited or pleased when it hears music, there are very few whose interest goes beyond being entertained. Natural- '' ire no recollection of my ov 1 u~

I may judge the reports c an intuitive grasp of certain eiemcms « -

form and harmony. Of course I did not know tne technical terms, but the essentials—or if you chose to cull them principles, stood out clearly and sharp.y the moment I heard music. This power of inner percep¬ ts* of musical problems is after all what people de¬ scribe as musical talent. Some people possess \ tutiirally, others have to have it very definitely pointed

»o them through the interminable theoretical books ‘"at make rules only to break them in the next instant. ’j°od theory books are necessary, however, even in

case of the talented, since the talented pupil is [iwly to have his musical information in disorganized "«ps rather than in systematic order ready for im¬ mediate use.

WHAT THE TEACHER SHOULD DEMAND.

CAMILLE SAINT-SAENS

the pupil is not to be blamed. The pupil should re- mcnilK-r that no step is a step ahead unless it is at¬ tended with real mastery, Progress is not determined by the speed with which one may skip over obstacles. Work slowly and correctly. Impatience at the key¬ board is not unnecessary but is an actual hindrance. If some pupils 1 have seen would spend the same energy in real study that they have spent in throwing the music around and in banging the keys when they have become a trifle exasperated they would accom¬ plish far more with less effort. Many an excitable student has injured his nervous system permanently l»y not controlling outbursts of temper when results have not been immediate. If you are one of the un¬ fortunate who have not mastered the art of self-con¬ trol watch yourself and your work very carefully and the next time you feel tempted to explode stop work¬ ing and go for a walk, or read a few pages of a hook. In a short time you will find that your mind is not only more receptive, hut that your fingers, which seemed beyond control, will untangle tire .most complicated rhythms and harmonies. The slow, quiet worker is the one who makes the most rapid progress. Piano play¬ ing is largely a matter of nerves and nerve control. Students give a great deal of attention to muscular development as though the muscles could be set into motion without any assistance from the nerves.

THOROUGHNESS IN PEDAUNO.

One of the most evasive branches of pianoforte study seems to !>c the one which is studied with the least thoroughness. It can not be learned by rule although one must, of course get a comprehensive idea of the scientific basis of good pedaling. In this, the sciences of acoustics and harmony are joined to S knowl¬ edge of the structure of the piano and most of all a highly developed aesthetic senac. By a developed aesthetic sense 1 re fer to the particular study of tbearti«ic mean* of making music lieauliful from the higher interpretative standpoint. Some people seem to be born ^th an in¬ tuitive feeling for the ai*propriatc use of the pnlals. Most people, however, seem to assume that they have an intuitive sense which will guide them to the cor¬ rect use of the pedals without study. This is a great mistake. There is no greater proldem in all piano playing than correct pedaling. The students who de pend upon their intuitions to guide them usually pedal at random with what often proves very disastrou* results. The worst use of the pedal is that of employ¬ ing it a. a kind of shroud to conceal faulty technic Better leave the pedal entirety alone than use it to make a jumble of meaningle»s sounds. Using the pedal mrrely to increase the volume of tone is one of the infallible signs of the bungling amateur.

HOW HARMONY HELP*

It is almost impossible to pedal effectively without a knowledge of the rudiment, of harmony The jwdal sustains sounds at long as the vilirations of tHej«*n.,

system by which chord* follow each other before tin* sustaining implement may he employed The student who ha* a knowledge of harmony should tag hr con¬ tent to observe the pedal marks placed in hit editum. He should go over tlu-m. analyte them. »ee wh> the

upon them. After that it is a fin* pUn to practice the pedal separately, counting just a* though you were playing and hearing the music menially, as though the actual sounds were coming from the in¬ strument. Later the left hand may be pmcticed with the pedal and then thenght hand and then Mdh bands togtber. This work should proceed so slowly

854 the etude 855

that the mind has an opportunity to follow each step. Then the tempo may be increased until one lias what might be called a “pedal technic.”

THOROUGHNESS IN AMERICA.

Music in America has been a continual surprise to me. The standard of taste and appreciation ip parts I have visited are much the same on both sides of the Atlantic. American orchestras are very praise¬ worthy organizations, the audiences know and ap¬ preciate what is good, while your leading operatic companies and instrumental artists are all that can be desired. 1 see no reason for Americans going abroad for study. The atmosphere is here, accom¬ plished teachers are with you and there are a number of excellently organized conservatories, where one may study with the additional advantage that there are no distracting and disturbing new conditions con¬ tinually to upset the mind. Americans are hard work¬ ers, but do not do enough to. divert their minds from the arduous work of the day. Composers and vir¬ tuosos should have hobbies aside from the pen. and their chosen instruments. I frequently find that a change of scene and occupation are desirable and I always go back to my work with far greater, zest. I never adhere to any particular method or iron-clad rule. In composing I select what appeals to me as be¬ ing good and discard that which does not convince me as being the most appropriate music for my needs. The composers who write according to mechanical specifications and limitations set down by the theorists and who never do any., thinking for-themselves must eventually fail. For this reason I seek continual change. Travel, poetry, the study of nature,, all icon- tribute to my music, because they help me in main¬ taining a better mental balance.

LET YOUR MUSIC TASTE REVEAL YOUR

CHARACTER.

BY CARL G. SCHMIDT.

“As a man thinketh.' *> is he,” runs the proverb. Some would even go further and say that a mans appearance, his mode of dress, his use of language, bis taste are merely the outward mirrorings of his soul. In other words when we look at a man we see the kind of man that that particular individual has built up in his own mind as his ideal of a man. A man looks pretty much as he wants to look. If this is so we must regard our own musical taste with care and have it of such a kind that it wili express a character of which we may be proud.

There are several thoughts suggested by this subject. First, what is character,'and. again, how may musical taste direct or reveal it! All teaching and this does not mean school work alone, but includes home influ¬ ences as well, tends to the formation of character. The love, kindness, gentleness, courteous consideration of the home are the foundation stones in the building of character. The love of nature, flowers, brooks, moun¬ tains, sea and sky arc objects which God spreads before us to soften and beautify character. Then comes the school where life is taught, independence fostered, the mind guided, ambition aroused, defeat encountered; suc¬ cess achieved; all these qualities go toward the making

of character. The one greatest element demanded of men! the

only thing which is permanent and which gives to one the real riches of the Universe; the quality with which man becomes master, without which bis life is useless, void and passes away unthought of, unremembered, forgotten, is CHARACTER. But our Creator has given to us more than Nature, love or learning to ennoble character. Tie has given to us the works of man, literature, painting, sculpture, architecture and music. These give to man the uplift which comes by direct association with the finer things of life, the work of men’s hands, the deep thoughts'of those whose only ambition was the uplift of their fellowmcn, and one of these great arts is music. The youngest of the arts because the most subtle.

For hundreds of years men struggled to catch sounds and in some way confine their meaning to paper. It was a long and strenuous effort which we, who look with so much indifference upon our printed pages of music, know, and in most instances care very little about. Nevertheless it would add immensely to the interest „f all music students anyl lovers of music if they would learn something about the history of our great art, the difficulties encountered in establishing its notation, the slow contrapuntal development of musical thought,

THE ETUDE

the constant trials <?f its first writers from Guido d’Arezzo to Richard Strauss, and in this way we would learn that our musical taste would develop our char¬ acter in the right way for we would learn to look at music not only as the expression of emotion but as a great, soul-stirring, uplifting,, God given art.

UNINFORMED PEOPLE.

We often experience a great surprise, almost a dis¬ heartening shock when we find men and women of apparent refinement, thoroughly enjoying the common, often vulgar street melody which originated in some cheap show or dance hall. We are prone to turn away annoyed and disgusted, but. let us not be too hasty. These people have probably never had their attention called to music as an art. They have never been told to learn anything about it; to realize that it is the medium of expressing the greatest feelings

Saint-Saens and His Late Confrere, Massenet

of the sen!! that it surpasses literature to which it is closely allied because.it. is not tangible, because it has the hundred-fold greater interest of diverse interpre¬ tation, that as each bne!s joy or .sorrow .is different so is there an expression-in music which ivifl-fitAfcat 'joy or sorrow. Again the student of music! How often cjo we as students go over a composition aimlessly, just merely playing it, watching every' note and expression mark and yet remaining an absolute stranger to the real thought of the composer to whom the composition

was an expression of his innermost life.

Our*mtisical taste is cheap because we make it so, because we do not search for the hidden meanings, because instead of going over a composition first, men¬ ially trying to interpret each phrase, we immediately rush to the piano with it and if it does not strike our fancy we discard it; because when we hear a song cheap in sentiment, frivolous in melody and "really not fit to he called a m usical composition, we do not stop to consider whether it is worth while to take it into our lives, if it will leave an impress for rood or add a bit of loveliness to our character, hut we simply absorb it. I fancy that if v/e were told that the fragrance of a certain flower was poisonous we would slum it, and yet if we are told that certain music leaves an evil impress on our lives we take it in just the same.

So good musical taste does reveal character, does build up and beautify life, does cifcoble manhood and womanhood, and. they who never learn this lose just so much of uplift and strength. . . . .

Tt would he well then for all who teach emusic to tell of its history, of its great men, of its real worth. This can he given to everyone, not merely, voice or pianoforte pupils. Let us always associate with beauti¬ ful tilings, great music, God’s out-of-doors, good books and refined .people, to partake of their loveliness and enrich otir character. ....

INDEPENDENT FINGER ACTION.

BY LEONORA SILL ASHTON.

The independence of each individual fingert u much has been written of this: hqw many L* have concentrated their efforts during lesson f ! lesson to instil the importance of it into their v minds; and how many toilsome, weary hours have'? I spent in almost fruitless endeavor to acquire this no Every action of the hand apart from the piano mo" in the opposite direction from the applying of this rul?

The fingers work as a unit with the hand in even part pertaining to everyday life.

The thumb and fingers together hold the pen with which these words are written. The fingers as a whole I clasp the music to place it on the piano. In the same manner they grasp the piano chair or stool to adjust it before we begin to play and then the injunction stares us in the face. “Have every one of your ten fingers absolutely independent of each other.”

In gaining independence here it is necessary to keep the muscles of the wrists and arms flexible, and let the j fingefs form the habit of following each other at the' proper time along the keys.

The same would be true of two finger exercises which give great individual power to each of the five members on our hands.

These three staples—scales, arpeggios and twp finger exercises, practiced with the various touches given in

■Dr. Mason’s Touch and Technic will lay a foundation ( worthy the best and finest performer. But this nw1 be more than individual action on the part of the fingers; there must be also individual sensation.•

That is, each finger ’"must be capable of giving to every note which grows under its touch its due torn and expression. This the various exercises will help to bring; but nothing will secure such satisfactory and lasting results as the playing of melodies with each finger separately. > •

Take for instance, the Song to the Evening Star, ni play the entire melody with one fjnger alone.

How Tunes are Made by the distinguished English Composer, Critic and Teacher

FREDERICK CORDER

Professor of Composition at the Royal Academy

of Music in London

Try to bring out the full tone (with the use oftfe ( ,edai if you will) placing the finger squarely* irmly upon the key, thus giving the finger not out he physical responsibility hut. the whole emoW nterpretive responsibility as well. Play this m | vith each finger on each hand; in turn transposing» nto the bass for the right hand, and into the treb he left. Play it with different touches, too. [ rou do your scales; arpeggios and exercises, Wf.1" . ■very finger at hotfle on every note in'everji to

The melody of hymn limes also suggest esette iractice for this special feature of musica j.

rent Trying this for a week or ^ k in hour each day to “independent P***?'^, stowing a little extra attention on the f d ^ fingers will surely wake marvels with stiff

^ Remember always the words of the great Ru^ It is only with tears and pain, bitter .as A ^ ,

the artist arrives.at perfection, and icehour*3 that every earnest effort put into your p

be rewarded.

' Good-natured and char as the Chevalier jSj,

in all other relations of life, he >>ec0™f' **„>. » stands at the conductor’s desk, the v ■ nass;0n, slightest error puts him into a towering P* ^ m , in the strongest language. Twenty , -asfogeW] times does lie demand the repetition < |,eist(t| the most skilled orchestral executant: ht ,aye,<r

tent. His manner is often so brnsfl reconcik<l*t fuse to sit under him, and are > fltie Iw; intervention of the etnperor, wt only k's *11 you know, he doesn’t mean it t it » whe# W* I Artists, moreover, require double P . _ enouf*1 * ' orchestra. No fortissimo can ie pj;s tnicr, , no pianissimo weak enough for h ■ . n5 w>hC ) gesture when conducting reflect e . gentle the music; now it is wild, now soft ^ ^ anon sorrowful. He lives and es . igenia, a' he rages with Achilles, weeps w,t!l back|S

• _ ...— throws riirnsv

ill is almost impossible for the non-inventive mind ti comprehend the process of invention. Readers of Charles Dickens insist upon knowing “the originals” tff his delightful characters and scenes; poets and jointers are popqlarly conceived as cranks who see jjjth different eyes from other folks, and the act of mechanical invention is believed to he a mysterious iflfpiration and not the culmination of a series of mental efforts. Especially difficult i$ it for the ’ iusiolover,' devoid of technical training, to conceive the means bv which even the simplest kind of music is evolved. But some glimpses of this curious and Obscure process may be gained by the exercise of a lit¬ tle ordinary reason;

HOW POETRY GAVE SHAPE TO MUSIC.

~ First of all, you must be on really intimate terms With a few musical pieces of different sorts before we can consider the matter at all. Do you know, for in¬ stance, that all music divides itself into two distinct classes—simple and complex? No, I thought not, but >*ou know at least that poetry is roughly divisible into two classes, that whjch lies in four-line stanzas (lyric work) and that which is in more elaborate forms and tuns straight on (heroic versp or blank verse). Again, you may not know that it was poetry thqt gave shape to music, but it was so, and the two arts work on very similar lines. That is to say, music may consist of either a series of short “sentences,” each of whiqli comes to a definite. full stop, or it may consist of por¬ tions of indefinite length, anything like a full stop king as far as possible avoided. The uninitiated wt not comprehend how this natural tendency of music [o leave off when it-has said its say can be resiste , But if you reflect you will remember that the upeducatec jerson can only 'frame short and simple sentences in speech, while the cultured orator has no difficulty in titering lengthy and well rounded periods which worn fill nearly a whole page of print. A very mo era e amount of education teaches one how to join c auses and sentences together and how to use the comma a semicolon instead of always the full-stop. ‘ Well, the primitive biusician can only frame simp e musical sentences, which we call Tunes, and it is tne pbject of -musical education to teach him how, y means of “half-closes” and “interrupted cadences, fliese may be extended into less common-place me o le ■ and farther, how by cutting off the end altoget ler, Sentence can be dove-tailed ihto another. ese processes are closely akin to the use of the semic 4nd the comma in literary composition and ton fhief resources in building up what we ca »usic.” But to employ thqse processes skilfully «

mands long-and difficult study, which only ' -j )■ few have-the power to master: tile vast "ta jonty musicians consider themselves composers when •urn out a symmetrical time, decently hartno^ea. ’jus demands far less skill than you WPH being precisely analogous to the composition ot rain of verse. It did not take much gen • Spiration to invent such a line as:

the duty of finding a rhyme to "snow." True, if hr is not pleased with the result he can alter the second

"With Fleece as black as soot"

but this he feels to be less attractive and it will prob¬ ably alter the sense of all that follows.

WHERE MEYERBEER FAILED.

Absurd as this example may seem this is the actual process followed by even the greatest of poets in con¬ structing a four-line verse. The difference between doggerel and genuine poetry is not so much in the quality of the writer’s mind as in his experience and skill in the performance of bis task. Let me gne you a very striking instance of this. Do you know any melodies by Meyerbeer—the shadow-song fro orah, the page’s song “nobil signor” from The hn.««> - iwts or "Quand je quiftais la Normandie* front Robert le Diahlef Perhaps not. for Meyerbeer is rather for¬ gotten now, though once highly esteemed. W ell. nearly all his tunes are conventionally constructed, but with so little skill that, once one’s attention directed to the fact, one cannot endure them. For instance, take the baritone song from Diuorah which lias suer

ful first line:

856 THE ETUDE THE ETUDE 857

I

SIMILARITY IN FOLK TUNES.

Whether it bfe. Hungarian, Russian or English, you find each an appalling monotony of rhythm, such a wearisome^ similarity of outline, that you wonder, at last, if there is Juch a-.thing as originality at'all. Yet each of th&Se tunes, when it had its day, was thought quite brilliant. Fifty.jyears ago there was a German- French violoncello player named Jacques Offenbach. For about twenty years he poured out a flood of spark¬ ling tune^—mostly harmonised on two chords, it is true—that kept kill the world smiling. Nothing is more dreary than to look over his hundred or so operas and operettas to-day. The sparkle has gone out of them and we cannot e'Fen endure them between the acts at a theatre, where they play almost anything. Why is this? Why do tunes of simple scope seem at one time charming and at another flat and dull? Here comes in, I think, (Stir own mentality—our own feeling for music. There exi&t a few persons of dull minds who are content, like little,children, to read the same book, or hear the same turie, over and over again all their lives, but the vast majority of those who are only slightly musical, realize the limitations of art and must have the Same thing said a little differently, or their appetite becomes jaded. It is not till you have made the experiment mentioned above and placed before yourself a large number of tunes that you can com¬ prehend the fact that we never invent; we only vary.

LANGUAGE INFLUENCES TUNES.

This, then, is the way in which tunes are made. The person fond of music perpetually turns over in his mind, consciously and Unconsciously, the phrases that he knows and as his mind tires of them he alters them or strives to make others something like them. Some of these variations must be better than others and there will be a kind Of survival of the fittest in the musician’s mind just as there is if ever his tunes come to be printed. The rhythmical skeleton of a tune depends upon the accept of our language and is very limited; thus an American could evolve Yankee doodle but could not possibly make a tune like:

which only the Hungarian language will admit. What are called t the Cadences of a tune, the ends of the phrases, are also very limited in their scope. When these things are fully understood it will be seen that melodic possibilities are by no means infinite—in fact that their limitations are discernible.

A COMPOSING MACHINE.

Many years ago I wrote a fanciful article about a man who invented a machine that would compose music. Some time later a casual remark of Arthur Sullivan’s— that he would give me a thousand pounds if I could

invent a. machine'^ that would carry out a figure of accompaniment to save him the trouble of writing it— set me thinking and I found that it was quite practi¬ cable to make a machine that would “compose”—by exhausting all the possibilities—music of a simple kind, such as chants and hymn-tunes. I have, in fact,

sketched out the plans for such a thing. But it would cost a good deal more than five thousand pounds to make, and where would be the use? To do once and for ever what is being done as required does not seem a very useful object, and—observe this—the most diffi¬ cult and complex portion* of such a machine would be

the least useful; that, is the critical part Out of 60,000 possible single chants a large proportion would be perfectly uninteresting—though technically correct. The humah mind that conceived these would discard them instinctively, but how could the machine be made to do so? And the higher we rise beyond this simplest form of n.elody the more subtle does the necessary

criticism become, till we see that the operation which goes on so incessantly in the composer’s mind—the making permutations and combinations of notes—is the least part of the real making of music. The fate of Charles Babbage’s famous Analytical Engine which ruined its inventor "shows us how futile is the attempt to supersede the operation of human intelligence by machinery. ■ The little live machine in the head of quite an ordinary human being does not cost much to set up nor to kedp , colngv but its capabilities are infinite and it has this advantage over machinery: it can create something out of nothing.

INTERESTING RUSSIAN FOLK MUSIC.

In the Musical Standard, Y. S. Bartlett writes on the folk-songs of the Ukraine. This Russian district, ac¬ cording to his article, is especially rich in folk-music, which is sung by the peasants on nearly every possible occasion. The songs often reflect the original Greek modes, the Ionian being most common, while the Lydian and Dorian are sometimes found.

These modes were sufficient to express the dignity of tradition in tones, but other influences entered in the Middle Ages. Turk and Tartar- hordes overran, the country, and finally it came under the despotism of Russia. Its music shows some Oriental qualities, and contains also examples of the Magyar tetrachord (A, B, C, D-sharp), originally introduced by the Turks, it is claimed, but now very characteristic of Hungary.

Especially popular are the so-called dumi, a class of melancholy songs of almost epic dignity. They differ in style from almost all other folk songs, because of their wonderful flexibility in the hands (or voice) of the singer. Their melodies are not very strongly ac¬ cented, but are called “invertebrate” in character, be¬ cause the long notes, which would ordinarily be ac¬ cented, usually fall on a weak beat. In a way this gives an apparent lack of variety, but in reality the singer can change his effects very easily, altering the expression greatly from verse to verse. The time varies also. A printed example of these “Grief Songs” consisted of five measures with the rhythm of 3/4, 5/4, 3/4, 7/4, and 7/4—surely changeable enough to al¬ low the minstrel full liberty of effect. An occasional chromatic effect near the end often adds to the climax. These songs have been collected and set with excellent judgment by the composer Lissenko.

Until recently these songs were sung by the cobsars, who were blind musicians traveling about from village to village. These wanderers had to go through a full apprenticeship before they became qualified, and were usually very gifted performers. They used for ac¬ companiment the stringed instrument called the ban- dura, known in Italy as the mandola, in Spain as the bandolon, and in Turkey as the tambura. These in¬ struments are said to be of Eastern origin, and it is claimed that they are the same as the “pandoura” mentioned by Pythagoras. Early pictures of this type of instruments have been found on Egyptian and As¬ syrian ruins. The bandura of the Ukraine has twelve strings, six long ones attached to pegs in the neck, while the other six are clamped to the finger-board by studs, and have no frets. The lower strings, starting up from the lowest line of the bass clef, are tuned to G, C, D, G, A, and D, while the upper strings give diatonic intervals from one-line G upward. The latter which may be tuned to suit the mode, are used for the melody.

The cobzars, or kobzars, were very popular, and sure of their welcome among the natives. In recent years, however, they came under the ban of the Russian government, since the patriotic nature of their songs acted as a powerful spur to the Ukraine people. For a time the Russian officials hounded these minstrels about from place to place, until at present the latter have almost wholly disappeared. But the peasants have not forgotten the songs, which remind them that they were formerly a free people.

IRELAND’S ROMANTIC HARPISTS.

In the Revue of the International Society, S. Mac- Owen treats of more familiar minstrels when he re¬ views some newly published matter about the last of the Irish harpists. Ireland has been claimed as the heme of the harp. Its name is said by some to have come from the Roman village of Arpi, but it is cer¬ tain that the returning legions of ancient days brought a native harp back from Britain. The Assyrian and Egyptian instruments must have been earlier, but prob- ably the harp had an independent origin in Ireland. At any rate, we know that the Irish people, like the Welsh, were wholly devoted to the many-stringed instrument so favored by the bards.

History tells us first of the early Welsh and Eng¬ lish harpists, and the value attached to the instrument. In \\ ales, it was the badge of a freeman, who was

deprived of it when he lost his oolitic l •. i Saxon England its use at banquet wL nghtl lj - mark of gentle breeding; and when ,!3 "ec«tarr ‘ Bede, who had neglected music for his ^ V<Ter* studies, found himself unable to plav in V UerarJ

gathering of notables, he was constrained £ ht?a to rise and leave the hall. y "s

The Irish harps were mentioned in the i the first Norman invasion. In the time of H 1* 0i the harp became the national emblem of feVDl' 1 was placed on the flag. Mr. MacOwen dSrif “i Irish harp as wholly diatonic, with thirty "r strings; but some authorities ascribe more t ’ ^ times, it is said, the strings were arranged inV‘ rows, with chromatic intervals in the middle’ and r this tr,pie form came the "arpa doppia- or JS harp, or Monteverde. r

In the 17th and 18th centuries, when the ing minstrel of the Middle Ages had disappeared! Irish harp was taken up by a number of profession^ players, who still traveled about, but were moreZ modern virtuosos than ancient bards. They showed some resemblance to the itinerant musician of todar going from place to place; but the harp was carried bn servant, and the performer sometimes came of a re¬ nowned and noble family. Such a one was Arthur O’Neill, who lived from 1737 to 1816. On an early trip, he came to a banquet given by Lord Kenmare to those related to the ancient Irish chieftains. After being greeted with enthusiasm, O’Neill took a humble seat at the foot of the table; and when the host ex- pressed his regret for this, the harper replied, “It is no matter, for the place where an O’Neill sits is always a place of honor.”

In his time, public competitions were instituted, somewhat like the Welsh Eistedfodds. At the first oi these, the chief prize was awarded to Charles Fan¬ ning, whose poverty, as shown by his clothes, won the jury’s sympathy, while O’Neill, who had arrayed him¬ self in his best, had to be content with second prize. At a later competition, where he was again second, ht suggested a collection for the non prize-winners, who were mostly so poor that a trip to the scene was a great expense; and as a result, they went away with greater gains than any of the prize-winners.

Most of the harpists were connoisseurs in the na¬ tive. brand of whiskey. Even the women players in¬ dulged to some extent. A certain Rose Mooney had a servant who would sometimes pawn the harp for suf¬ ficient liquid inducement, and Rose herself was sea enjoying various beverages when a warehouse of spir¬ its at Killala was sacked during a revolt But the harpists were not any worse than others in this re¬ spect. At entertainments it was usual to find opu whiskey-casks, with a hospitable cup attached to each; and sometimes, to save the greater price of food, i host would purposely ply his guests with the liquid. No doubt the open-air life of the harpers en¬ abled them to indulge in excesses that would now «

justly condemned. . One Thaddy Elliott was so fond of his “potheen

that for a quart of it he promised to indulge u> ribald trick of playing “Planty Connor" whlle acc,^ panying Mass «t Navan. The priest was naturaly ^ rifled, but the lively air broke in at a , church custom forbade his speaking, and Elliott his wages unhindered. He was summarily disns and another harpist engaged; whereupon proP ^ club and awaited his successor in ambush. 8 , would have it, the priest passed at the Psyc. ^ moment, and received the blow meant for comer; for which Elliott had to do public pe

But many of the harpists were good musl!:l . f- took a high place in their profession, even P a

royalty. The most gifted of them was Turo _

clan, bom in 1670. It is said that on aivlS' . T;0t: iniani he heard the latter play Vivaldis ^ concerto; whereupon he took his harp an ^

the entire work from this single hearing. ,

adds that Geminiani gave his visitor a

other concerto, purposely filled with error*! * fror the harpist went through the work, and wi ^ ing of the trap, suggested a correction for

take.

Saving Indian Music Frcm Oblivion

By THURLOW LIEURANCE

e divine fire of the artist is something . ^ | be inflamed to white heat in the cruet ^ . It may be said of great musicians W i ^

it, “Most wretched men are era e . tfA'» rong: They learn in suffering what m .

[EniTOB’s Note.—Mr. Lieurance has been In the West for , considerable length of time studying Indian music at Sr-t hand. Mnny attempts have been made to save the mu'gic of the American Indian, but as many of these have been made by anthropologists rather than musicians the results have Often been disappointing. Mr. Charles Troyer lived for a long time with the mystical Zuiil Indians of the South West and came back with some marvelous themes which he has adapted to modern notation. Sir. Lieurance had a sympathetic fondness for the music of the Indian and has made many extremely effective settings of native tunes. He has made liberal use of the recording phonograph and then analyzed the records at his leisure.]

When I first became interested in this subject I studied the Indian songs only with a view to finding themes for musical composition. I at once realized that it would be a life work to know the Indian and the relation of his songs to his worship, his pleasure, and his toil. For the sake of accuracy I made phono¬ graphic records of those songs which I wished to transcribe. The manner of procedure was most in¬ teresting. The singers, with their drums and flutes, were arranged about six feet in front of the record¬ in'* machines. The leader and timer of the songs sat in front, rehearsing the singers, humming low, before each record was made. The war chief, with his interpreter, was there, inviting himself to find out what it was all about, to sanction or prohibit the re¬ cording of songs he wanted or did not want sung. After recording a song we reproduced it for the sing¬ ers, to know if it was properly recorded. Near the operator was an educated Indian boy, acting as an in¬ terpreter. The record-making ended with a feast and playing over all of the songs recorded. Writing the Indian’s songs exactly according to our scale is an im¬ possibility, as he uses intervals which are not found in a scale of whole and half steps. There are, however, exceptions to this statement, as in the love songs of the Sioux and in melodies played on the flute. I have chosen a number of the love songs and flute melodies as themes for composition because they harmonize well and are often beautiful. Music is the principal medium hy which the Indian communicates with the unseen. He hunts, fights, plays his games, and worships, with song. His one instrument, excepting the drum, is the native flute made of two pieces of cedar hollowed out. glued together with pine pitch, and tied around wit sinews. He blows into it from the end and has from four to six tones of the scale. Semitones are produce hy cross-fingering, at intervals, and between he blows a trill or tremolo on the lowest tone. e Indians are good listeners, but poor demonstrators. Some have exceptionally good voices, and like to sing, hut they prefer to have a drum or something to beat uPon. It is strange that the drums are used very 8e dom to beat the tempo of the s ng they sing, but to roark the dance step. They will beat a straig t Rmpo, then s:ng the song in an entirely different tempo.

Parts of their songs have words, and for the ba »We they will ure a “Hi, hi, hi." For a lullaby an Indian woman will sing “We. we. we,” all through Vh« *ong, excepting where she sinys a direct sentence n 'he papoose. Many of the songs have no words at ait

and represent the feeling, imitation, etc.

Below are given interesting Indian themes.

The first is n iove song, sung 1y Frank Double-the- “°rsc. a Sioux. This is a beautiful melody and splen¬ did for purposes of composition. I have harmonize* •t for the piuno. The text of the poem i* entitled - /% Silver-throated Fawn.” Eva Sun, a Crow girt. ” 'he Indian maiden who merits this appellation ine Phonograph recorded the song in the same key t

which it is harmonized. The Sioux Indian* have : of perfect intervals and their love songs arc the n melodious of all to our ears.

856

SIMILARITY IN FOLK TUNES.

Whether it be. Hungarian, Russian or English, you find each an appalling tnonotony of rhythm, such a wearisome- similarity _of outline, that you wonder, at last, if there is Such a .thing as originality at'all. Yet each of thttse tunes, when it had its day, was thought quite brilliant. Fiftyjyears ago there was a German- French violoncello player named Jacques Offenbach. For about twenty years he poured out a flood of spark¬ ling tune^—mostly harmonised on two chords, it is true—that kept ajl the world smiling. Nothing is more dreary than to look over his hundred or so operas and operettas to-day. The sparkle has gone out of them and we cannot eVen endure them between the acts at a theatre, where they play almost anything. Why is this? Why do tubes of simple scope seem at one time charming and at another flat and dull? Here comes in, I think, dur own mentality—our own feeling for music. There exist a few persons of dull minds who are content, like little.children, to read the same book, or hear the same tune, over and over again all their lives, but the vast majority of those who are only slightly musical, realize the limitations of art and must have the Same thing said a little differently, or their appetite becomes jaded. It is not till you have made the experiment mentioned above and placed before yourself a large number of tunes that you can com¬ prehend the fact that we never invent; we only vary.

LANGUAGE INFLUENCES TUNES.

This, then, is the way in which tunes are made. The person fond of music perpetually turns over in his mind, consciously and unconsciously, the phrases that he knows and as his mind tires of them he alters them or strives to make others something like them. Some of these variations must be better than others and there will be a kind of survival of the fittest in the musician’s mind just as there is if ever his tunes come to be printed. The rhythmical skeleton of a tune depends upon the accept of our language and is very limited; thus an American could evolve Yankee doodle but could not possibly make a tune like:

which only the Hungarian language will admit. What are called, the Cadences of a tune, the ends of the phrases, are also very limited in their scope. When these things are fully understood it will be seen that melodic possibilities \are by no means infinite—in fact that their limitations are discernible.

A COMPOSING MACHINE.

Many years ago I wrote a fanciful article about a man who invented a machine that would compose music. Some time later a casual remark of Arthur Sullivan’s— that he would give me a thousand pounds if I could

invent a machine ^ that would carry out a figure of accompaniment to save him the trouble of writing it— set me thinking and I found that it was quite practi¬ cable to make a machine that would “compose”—by exhausting all the possibilities—music of a simple kind, such as chants and hymn-tunes. I have, in fact,

sketched out the plfu>$ for such a thing. But it would cost a good deal more than five thousand pounds to make, and where would be the use? To do once and for ever what is being done as required does not seem a very useful object, and—observe this—the most diffi¬ cult and complex portion' of such a machine would be

the least useful; that, is the critical part Out of 60,000 possible single chants a large proportion would be perfectly urtinteresting—though technically correct. The human mind that conceived these would discard

them instinctively, but how could the machine be made to do so? An^ the higher we rise beyond this simplest form of melody the more subtle does the necessary

criticism become, till we see that the operation which goes on *0 incessantly in the composer’s mind—the making permutations and combinations of notes—is the least part of the real making of music. The fate of Charles Babbage’s famous Analytical Engine which ruined its inventor shows us how futile is the attempt to supersede the operation of human intelligence by machinery. * The little live machine in the head of quite an ordinary human being does not cost much to set up nor to keep go:nv, but its capabilities are infinite and it has this advantage over machinery: it can create

something out of nothing.

the etude

INTERESTING RUSSIAN FOLK MUSIC.

In the Musical Standard, F. S. Bartlett writes on the folk-songs of the Ukraine. This Russian district, ac¬ cording to his article, is especially rich in folk-music, which is sung by the peasants on nearly every possible occasion. The songs often reflect the original Greek modes, the Ionian being most common, while the Lydian and Dorian are sometimes found.

These modes were sufficient to express the dignity of tradition in tones, but other influences entered in the Middle Ages. Turk and Tartar hordes overran, the country, and finally it came under the despotism of Russia. Its music shows some Oriental qualities, and contains also examples of the Magyar tetrachord (A, B, C, D-sharp), originally introduced by the Turks, it is claimed, but now very characteristic of Hungary.

Especially popular are the so-called dumi, a class of melancholy songs of almost epic dignity. They differ in style from almost all other folk songs, because of their wonderful flexibility in the hands (or voice) of the singer. Their melodies are not very strongly ac¬ cented, but are called “invertebrate” in character, be¬ cause the long notes, which would ordinarily be ac¬ cented, usually fall on a weak beat. In a way this gives an apparent lack of variety, but in reality the singer can change his effects very easily, altering the expression greatly from verse to verse. The time varies also. A printed example of these “Grief Songs” consisted of five measures with the rhythm of 3/4, 5/4, 3/4, 7/4, and 7/4—surely changeable enough to al¬ low the minstrel full liberty of effect. An occasional chromatic effect near the end often adds to the climax. These songs have been collected and set with excellent judgment by the composer Lissenko.

Until recently these songs were sung by the cobsars, who were blind musicians traveling about from village to village. These wanderers’had to go through a full apprenticeship before they became qualified, and were usually very gifted performers. They used for ac¬ companiment the stringed instrument called the ban- dura, known in Italy as the mandola, in Spain as the bandolon, and in Turkey as the tambura. These in¬ struments are said to be of Eastern origin, and it is claimed that they are the same as the “pandoura” mentioned by Pythagoras. Early pictures of this type of instruments have been found on Egyptian and As¬ syrian ruins. The bandura of the Ukraine has twelve strings, six long ones attached to pegs in the neck, while the other six are clamped to the finger-board by studs, and have no frets. The lower strings, starting up from the lowest line of the bass clef, are tuned to G, C, D, G, A, and D, while the upper strings give diatonic intervals from one-line G upward. The latter which may be tuned to suit the mode, are used for the melody.

The cobzars, or kobzars, were very popular, and sure of their welcome among the natives. In recent years, however, they came under the ban of the Russian government, since the patriotic nature of their songs acted as a powerful spur to the Ukraine people. For a time the Russian officials hounded these minstrels about from place to place, until at present the latter have almost wholly disappeared. But the peasants have not forgotten the songs, which remind them that they were formerly a free people.

IRELAND’S ROMANTIC HARPISTS.

In the Revue of the International Society, S. Mac- Owen treats of more familiar minstrels when he re¬ views some newly published matter about the last of the Irish harpists. Ireland has been claimed as the h me of the harp. Its name is said by some to have come from the Roman village of Arpi, but it is cer¬ tain that the returning legions of ancient days brought a native harp back from Britain. The Assyrian and Egyptian instruments must have been earlier, but prob¬ ably the harp had an independent origin in Ireland. At any rate we know that the Irish people, like the Welsh, were wholly devoted to the many-stringed instrument so favored by the bards.

History tells us first of the early Welsh and Eng- lish harpists, and the value attached to the instrument. In W ales, it was the badge of a freeman, who was

deprived of it when he lost his . Saxon England its use at banquets ^ ^ \ mark of gentle breeding; and whm , 4

Bede, who had neglected music for hi,lhe V'°'n* studies, found himself unable to plav i! f*41 V gathering of notables, he was constrain-iir^^i to rise and leave the hall. ed by b,s ^

The lT**h harPs were mentioned in the A. the first Norman invasion. In the time of H the harp became the national emblem 0f K* . was placed on the flag. Mr. MacOwen St* Insh harp as wholly diatonic, with strings; but some authorities ascribe more, ■ ** times, it is said, the strings were arranged“M rows, with chromatic intervals in the middle- this tr,ple form came the “arpa dohbia"' harp, or Monteverde.

In the 17th and 18th centuries, when the ing minstrel of the Middle Ages had disappear,/' Irish harp was taken up by a number of profil players, who still traveled about, but were mot modern virtuosos than ancient bards. They fa some resemblance to the itinerant musician of t„ going from place to place; but the harp was carried!,' servant, and the performer sometimes came of.V nowned and noble family. °—'L - O’Neill, who lived from 1737 to

i one was .Ink - - On as ori

trip, he came to a banquet given by Lord Kcnnsrts those related to the ancient Irish chieftains. Af being greeted with enthusiasm, O’Neill took a he seat at the foot of the table; and when the host i pressed his regret for this, the harper replied, ‘It i, matter, for the place where an O’Neill sits is a!rr a place of honor.”

In his time, public competitions were it_ somewhat like the Welsh Eistedfodds. At the firs: these, the chief prize was awarded to Charlti h ning, whose poverty, as shown by his clothes, woe * jury’s sympathy, while O’Neill, who had self in his best, had to be content with second pi At a later competition, where he was again sectnl fc suggested a collection for the non prize-winnen, were mostly so poor that a trip to the scene w great expense; and as a result, they greater gains than any of the prize-winners.

Most of the harpists were connoisseurs in lie * tive. brand of whiskey. Even the women p!ayer> r dulged to some extent. A certain Rose Moonc; he i servant who would sometimes pawn the harp fee e ficient liquid inducement, and Rose herself wu it enjoying various beverages when a warehouse of g its at Killala was sacked during a revolt. B*1 harpists were not any worse than others in thb» spect. At entertainments it was usual to find ¥ whiskey-casks, with a hospitable cup attached to a* and sometimes, to save the greater price of f«- host would purposely ply his guests with * liquid. No doubt the open-air life of the harpm* abled them to indulge in excesses that would “*

justly condemned. One Thaddy Elliott was so fond of bis t—

that for a quart of it he promised totoWt* ribald trick of playing “Planty Connor wine panying Mass «t Navan. The priest was naturwy

rifled, but the lively air broke in at » church custom forbade his speaking, and Jg ^

his wages unhindered. He was and another harpist engaged; whereujAw * g club and awaited his successor in am would have it, the priest passed at t e moment, and received the blow meant comer; for which Elliott had to do

But many of the harpists were good mu

took a high place in their profession, ■ (

royalty. The most gifted of them was olan, born in 1670. It is said that on gf iniani he heard the latter play Viva is concerto; whereupon he took his harp ^

the entire work from this single .eann

adds that Geminiani gave his v'*ltor other concerto, purposely filled with err •

the harpist went through the work, an ing of the trap, suggested a correct!

take.

The divine fire of the artist is ®offle* of*1 only be inflamed to white heat in t e ^

ience. It may be said of great puts it, ‘‘Most wretched men are cr by wrong: They learn in suffering

song.”

■

IEoitok’k Note.—Mr. Lteuranc* ba* been in tba W ■ rou.lcl.ruM,- kofftb of time studying Indian mu ■ret band. Many attempt* have been made to aa< BD«le of tbe American Indian, but a* many of lb.- I*rn made hv anthrupologUtn rather mult* have often been disappointing. Mr. Churl** 1 lived for ■ long lime with til* mystical Zufll Indian* Doaih West and earn* baelt with tome marv luus I thieh be tin* adapted to modern notation. Mr. 1.1* ui a sympathetic fondness for the mu«lc of the IndU

m„de many extremely effective setting* of native lit ba« made liberal lise of the recording pbol Ifctn analyz'd tile record* at hi* leisure.]

lun I first became interested in this itodied the Indian songs only with a view to finding themes for musical composition. I at once realized that it would be a life work to know the Indian and the relation of his songs to his worship, hi* pleasure, and

I toil. For the sake of accuracy I made phono- raphic records of those songs which I wished to inscribe. The manner of procedure was most in- resting. The singers, with their drums and flutes, ere arranged about six feet in front of the record- I machines. The leader and timer of the songs it in front, rehearsing the singers, humming low, rforc each record was made. The war chief, with S interpreter, was there, inviting himself 10 find oot hat it w :« all about, lo sanction or prohiliit the re¬ ading of songs lie wanted or did not want sung, her recording a song we reproduced it for the sing- S. to know if it was properly recorded. Near the •error was en educated Indian boy, acting as an i«- rpretcr. The record-making ended with a least and aving over all of the songs recorded. Writing the idian's son -s exactly according to our scale is an im- Mtibility. as be uses inicrvals which are not found In scale of whole and half steps. There are. howrvefi

exceptions to this statement, as In the love songs of the Sioux and in melodics played on the flute. I haw chosen a numlrer of the love songs and flute melodies ss themes for composition because ibey harmonise well *nd are often lieautiful. Music is the principal medium by which the Indian communicates with the unseen. He hunts, fights, plays his games, and worships «itb •ong. His one instrument, excepting Ihc drum, is t e •live flute made of two pieces of cellar hollowed out. slued together with pine pitch, and tied around wit sinews. He blows into it from the end and has from fi«r to six tones of the scale. Senvtones are produced by cross-fingering, nt intervals, and between phr**** he blows a trill or tremolo on the lowest tone. The

Indians are good listeners, but poa Some have exceptionally good voicea, —

they prefer to have a drum or something to b«* «*««. It is strange that the dr— — «»«d vert lel-

heat the tempo of the

856 THE ETUDE THE ETUDE 857

similarity in folk tunes.

Whether it be. Hungarian, Russian or English, you find each an appalling monotony of rhythm, such a wearisome-' similarity of outline, that you wonder, at last, if there is Such a-.thing as originality at all. Yet each of thffse tunes, \yhen it had its day, was thought quite brilliant. Fifty (years ago there was a German- French violoncello player named Jacques Offenbach. For about twenty years he poured out a flood of spark¬ ling tune^—mostly harmonised on two chords, it is true—that kept all the world smiling. Nothing is more dreary than to look over his hundred or so operas and operettas to-day. The sparkle has gone out of them and we cannot even endure them between the acts at a theatre, where they play almost anything. Why is this? Why do tubes of simple scope seem at one time charming and at another flat and dull? Here comes in, I think, our own mentality—our own feeling for music. There exist a< few persons of dull minds who are content, like little .children, to read the same book, or hear the same turfe, over and over again all their lives, but the vast majority of those who are only slightly musical, realize the limitations of art and must have the same thing said a little differently, or their appetite becomes jaded. It is not till you have made the experiment mentioned above and placed before yourself a large number of tunes that you can com¬ prehend the fact that we never invent; we only vary.

LANGUAGE INFLUENCES TUNES.

This, then, is the way in which tunes are made. The person fond of music perpetually turns over in his mind, consciously and unconsciously, the phrases that he knows and as his mind tires of them he alters them or strives to make others something like them. Some of these variations must be better than others and there will be a kind of survival of the fittest in the musician’s mind just as there is if ever his tunes come to be printed. The rhythmical skeleton of a tune depends upon the accept of our language and is very limited; thus an American could evolve Yankee doodle but could not possibly make a tune like:

No. 8.

which only the Hungarian language will admit. What are called _ the Cadences of a tune, the ends of the phrases, are also very limited in their scope. When these things are fully understood it will be seen that melodic possibilities are by no means infinite—in fact that their limitations are discernible.

A COMPOSING MACHINE.

Many years ago I wrote a fanciful article about a man who invented a machine that would compose music. Some time later a casual remark of Arthur Sullivan’s— that he would give me a thousand pounds if I could

invent a machine'^ that would carry out a figure of accompaniment to save him the trouble of writing it— set me thinking and I found that it was quite practi¬ cable to make a machine that would “compose”—by exhausting all the .possibilities—music of a simple kind, such as chants and hymn-tunes. I have, in fact,

sketched out the plans for such a thing. But it would cost a good deal more than five thousand pounds to make, and whfere would be the use? To do once and for ever what is being done as required does not seem a very useful object, and—observe this—the most diffi¬ cult and complex portion* of such a machine would be

the least useful; that is the critical part Out of 60,000 possible single chants a large proportion would be perfectly uninteresting—though technically correct. The humah mind that conceived these would discard them instinctively, but how could the machine be made to do so ? An{f the higher we rise beyond this simplest form of melody the more subtle does the necessary criticism become, till we see that the operation which

goes on so incessantly in the composer’s mind—the making permutations and combinations of notes—is the least part of the real making of music. The fate of Charles Babbage’s famous Analytical Engine which ruined its inventor shows us how futile is the attempt to supersede the operation of human intelligence by machinery. ' The little live machine in the head of quite an ordinary human being does not cost much to set up nor to keep going, but its capabilities are infinite and it has this advantage over machinery: it can create something out of nothing.

INTERESTING RUSSIAN FOLK MUSIC.

In the Musical Standard, F. S. Bartlett writes on the folk-songs of the Ukraine. This Russian district, ac¬ cording to his article, is especially rich in folk-music, which is sung by the peasants on nearly every possible occasion. The songs often reflect the original Greek modes, the Ionian being most common, while the Lydian and Dorian are sometimes found.

These modes were sufficient to express the dignity of tradition in tones, but other influences entered in the Middle Ages. Turk and Tartar- hordes overran the country, and finally it came under the despotism of Russia. Its music shows some Oriental qualities, and contains also examples of the Magyar tetrachord (A, B, C, D-sharp), originally introduced by the Turks, it is claimed, but now very characteristic of Hungary.

Especially popular are the so-called dumi, a class of melancholy songs of almost epic dignity. They differ in style from almost all other folk songs, because of their wonderful flexibility in the hands (or voice) of the singer. Their melodies are not very strongly ac¬ cented, but are called “invertebrate” in character, be¬ cause the long notes, which would ordinarily be ac¬ cented, usually fall on a weak beat. In a way this gives an apparent lack of variety, but in reality the singer can change his effects very easily, altering the expression greatly from verse to verse. The time varies also. A printed example of these “Grief Songs” consisted of five measures with the rhythm of 3/4, 5/4, 3/4, 7/4, and 7/4—surely changeable enough to al¬ low the minstrel full liberty of effect. An occasional chromatic effect near the end often adds to the climax. These songs have been collected and set with excellent judgment by the composer Lissenko.

Until recently these songs were sung by the cobqars, who were blind musicians traveling about from village to village. These wanderers'had to go through a full apprenticeship before they became qualified, and were usually very gifted performers. They used for ac¬ companiment the stringed instrument called the ban- dura, known in Italy as the mandola, in Spain as the bandolon, and in Turkey as the tambura. These in¬ struments are said to be of Eastern origin, and it is claimed that they are the same as the “pandoura” mentioned by Pythagoras. Early pictures of this type of instruments have been found on Egyptian and As¬ syrian ruins. The bandura of the Ukraine has twelve strings, six long ones attached to pegs in the neck, while the other six are clamped to the finger-board by studs, and have no frets. The lower strings, starting up from the lowest line of the bass clef, are tuned to G, C, D, G, A, and D, while the upper strings give diatonic intervals from one-line G upward. The latter which may be tuned to suit the mode, are used for the melody.

The cobzars, or kobzars, were very popular, and sure of their welcome among the natives. In recent years, however, they came under the ban of the Russian government, since the patriotic nature of their songs acted as a powerful spur to the Ukraine people. For a time the Russian officials hounded these minstrels about from place to place, until at present the latter have almost wholly disappeared. But the peasants have not forgotten the songs, which remind them that they were formerly a free people.

IRELAND’S ROMANTIC HARPISTS.

In the Revue of the International Society, S. Mac- Owen treats of more familiar minstrels when he re¬ views some newly published matter about the last of the Irish harpists. Ireland has been claimed as the heme of the harp. Its name is said by some to have come from the Roman village of Arpi, but it is cer¬ tain that the returning legions of ancient days brought a native harp back from Britain. The Assyrian and Egyptian instruments must have been earlier, but prob¬ ably the harp had an independent origin in Ireland. At any rate, we know that the Irish people, like the Welsh, were wholly devoted to the many-stringed instrument so favored by the bards.

History tells us first of the early Welsh and Eng¬ lish harpists, and the value attached to the instrument. In Wales, it was the badge of a freeman, who was

deprived of it when he lost his political rights. In Saxon England its use at banquets was a necessary mark of gentle breeding; and when the Venerable Bede, who had neglected music for his great literary studies, found himself unable to play in his turn at a gathering of.notables, he was constrained by his shame to rise and leave the hall.

The Irish harps were mentioned in the chronicle of the first Norman invasion. In the time of Henry VIII the harp became the national emblem of Ireland, and was placed on the flag. Mr. MacOwen describes the Irish harp as wholly diatonic, with thirty or forty strings; but some authorities ascribe more to it. At times, it is said, the strings were arranged in three rows, with chromatic intervals in the middle; and from this triple form came the "arpa doppia,” or double harp, or Monteverde.

In the 17th and 18th centuries, when the wander¬ ing minstrel of the Middle Ages had disappeared, the Irish harp was taken up by a number of professional players, who still traveled about, but were more like modern virtuosos than ancient bards. They showed some resemblance to the itinerant musician of to-day, going from place to place; but the harp was carried by a servant, and the performer sometimes came of a re¬ nowned and noble family. Such a one was Arthur O’Neill, who lived from 1737 to 1816. On an early trip, he came to a banquet given by Lord Kenmare to those related to the ancient Irish chieftains. After being greeted with enthusiasm, O’Neill took a humble seat at the foot of the table; and when the host ex¬ pressed his regret for this, the harper replied, “It is no matter, for the place where an O’Neill sits is always a place of honor.”

In his time, public competitions were instituted, somewhat like the Welsh Eistedfodds. At the first of these, the chief prize was awarded to Charles Fan¬ ning, whose poverty, as shown by his clothes, won the jury’s sympathy, while O’Neill, who had arrayed him¬ self in his best, had to be content with second prize. At a later competition, where he was again second, he suggested a collection for the non prize-winners, who were mostly So poor that a trip to the scene was a great expense; and as a result, they went away with greater gains than any of the prize-winners.

Most of the harpists were connoisseurs in the na¬ tive. brand of whiskey. Even the women players in¬ dulged to some extent. A certain Rose Mooney had a servant who would sometimes pawn the harp for suf¬ ficient liquid inducement, and Rose herself was seen enjoying various beverages when a warehouse of spir¬ its at Killala was sacked during a revolt. But the harpists were not any worse than others in this re¬ spect. At entertainments it was usual to find open whiskey-casks, with a hospitable cup attached to each; and sometimes,' to save the greater price of food, a host would purposely ply his guests with the fiery liquid. No doubt the open-air life of the harpers en¬ abled them to indulge in excesses that would now be justly condemned.

One Thaddy Elliott was so fond of his “potheen" that for a quart of it he promised to indulge in the ribald trick of playing “Planty Connor” while accom¬ panying Mass at Navan. The priest was naturally hor¬ rified, but the lively air broke in at a time when church custom forbade his speaking, and Elliott earned his wages unhindered. He was summarily dismissed, and another harpist engaged; whereupon he procured a club and awaited his successor in ambush. As luck would have it, the priest passed at the psychological moment, and received the blow meant for the new¬ comer; for which Elliott had to do public penance.

But many of the harpists were good musicians who took a high place in their profession, even playing for

royalty. The most gifted of them was Turloch O’Car- olan, born in 1670. It is said that on a visit to Gem-

iniani he heard the latter play Vivaldi’s fifth * i * * * v>0*'" concerto; whereupon he took his harp and repeated

the entire work from this single hearing. The story

adds that Geminiani gave his visitor a copy of an¬ other concerto, purposely filled with errors; whereupon

the harpist went through the work, and without know¬

ing of the trap, suggested a correction for each mis¬ take.

The divine fire of the artist is something which can

only be inflamed to white heat in the crucible of exPfr” ience. It may be said of great musicians that, as Shel.ey

puts it, “Most wretched men are cradled into poetn by wrong: They learn in suffering what they teach tf song.”

Saving Indian Music From Oblivion

By THURLOW LIEURANCE

note.—Mr. Lleurauco has keen in tUe West for lere'th of time studying Indian music at

rfad Many attempts have been made to save the 1 of tie American Indian, but us many of these have

1)V anthropologists rather than musicians the Bntare flften boon disappointing. Mr. Charles Troycr tflWa long lime with the mystical XuM Indians of the EL West and came back with some marvelous themes alii be has adapted to modern notation. Mr. Lieu ranee ilirnnpathetlc fondness for the music of the Indian and SiXimmy extremely effective settings of native tunes. Httas made liberal us,, of the recording phonograph and »analysed the records at Ids leisure.]

I When I first became interested in this subject I died the Indian songs only with a view to finding !mes for musical composition. I at once realized kit would be a life work to know the Indian and the Nation of his songs to his worship, his pleasure, and ik toil. For the sake of accuracy I made phono- paphic records of those songs which I wished to inscribe. The manner of procedure was most in- Ming. The singers, with their drums and flutes, were arranged about six feet in front of the record- i«3 machines. The leader and timer of the songs at in front, rehearsing the singers, humming low, Wore each record was made. The war chief, with i interpreter, was there, inviting himself to find out vlat it was all about, to sanction or prohibit the re- cording of songs he wanted or did not want sung. After recording a song wc reproduced it for the sing* m, to know if it was properly recorded. Near the nptrtitor was an educated Indian boy, acting as an tn- mpretcr. The record-making ended with a feast and Pitying over all of the songs recorded. Writing t e Indian’s son.-s exactly according to our scale is an im¬ possibility, as he uses intervals which are not found in

,i scale of whole and half steps. There are. howe\

, deceptions to this statement, as in the love s0"S* ’lie Sioux and in melodies played on the flute. I have diostn a number of the love songs and flute melodies

“themes for composition because they harmonize we “dare often beautiful. Music is the principal me t ly which the Indian communicates with the imsee •

Be hunts, fights, plays his games, and worships witn ,!w?. His one instrument, excepting the drum, is t e 'five flute made of two pieces of cedar hollowed out, Aied together with pine pitch, and tied around wttn ■***• He blows into it from the end and has from ,w to six tones of the scale. Semitones are produceu

v CrosS‘finccring, at intervals, and between P ^ f blows a trill or tremolo on the lowest tone, m ‘“'bans ate good listeners, but poor demonstrators.

Wie have exceptionally good voices, and like to ’ "“they prefer to have a drum or something to !P511, It is strange that the drums are used very ^ to heat the tempo of the s ng they sing, hut

the dance step. They will beat a straight «- (BIK then ring the song in an entirely different tern to.

' *"» of their songs have words, and for the * ffe they will use a "Hi, hi. hi.” For a 1ul1*^ .

woman will sing “We. we. we,” all hrm« csong, exceptin ' where she liny* a direct sen e

I W,e. Many of the songs have no word, at all

represent the feeling, imitation, etc.

d°w are given interesting Indian themes.

Jhc firs> is a love song, sung by Frank ' J!5' a Sioux. This is a beautiful melody and -P > Purposes of composition. I have harmou ed

fee Piano. The text of the poem ts entttlcd.

i, * Sdver-throated Fawn.” Eva Sun, a| Crow U ,h{ Indian maiden who merits this appellation-

1 °Pograph recorded the song in the same key

858

old ones. Each tribe has a different language, and the only way all can talk is with the sign language, which is universal among the tribes. They are great socialists, live together in villages, divide with one another. The chief is not a rich man, but a leader. The only grafter among them is the medicine man. He has the right to claim anything for a cure.

HELPS IN SCALE PLAYING.

BY ALICE M. STEEDE.

Not many teachers have escaped encounter with the pupil to whom scale playing seems unmitigated drudg¬ ery, and who consequently avoid it until the last ten minutes of the practice hour. Then the pupil scrambles through the allotted scales perfectly satisfied if he can only “come out right’ —that is, end with ‘he right lingers, forgetting that a musical scale and a problem in arithmetic have not much in common.

It has been said that Chopin never used correct fin¬ gering in playing scale passages. If that is true one may depend upon it that he obtained h,s wonderful effects in spite of incorrect fingering and not because of it. In any case it is very evident tha ordinary mortals stand a very poor chance ot attaining smooth scale passages unless the finger¬ ing has become invariable and automatic.

In addition to the finger dexterity which should

result from scale practice the pupil sho’i1^ acq“'/e through the same medium that sense of key rela¬ tions!^) which is necessary for the proper under-

cfandinfir of music. . . ^t is evident, then, that every teacher of music

should exercise all his powers in making scale playing interesting. The pupil s expectations should be aroused and his interest kept alive y every legitimate means, and finally scale work will become an exceedingly interesting part of the lesson and, consequently, of the practice hou .

The connection between the scale and even t simplest piece of music must be «tabl.shed and the distinction between scale and key empha

SiTdhe meaning of the word “key” is perhaps best explained by taking some well-known tune, America, for example, and playing it inj various keys, calling the pupil’s attention to the black keys used in the transpositions. Or the teacher mav require the pupil to sing the scale of C When that has been done the next question will be “Now can you sing the same tune a little higher, beginning on D?” If the pup. can do this correctly, the notes can then he played on the piano, and the pupil’s attention directed to the necessary F sharp and C sharp.

In giving any fresh work to the pupil the first question to be asked is, “What key is this piece written in?” It is almost incredible what an amount

i. Wired ,o n,.ke .hi. clear ,he mind of the average pupil. If one sharp should stand in the key signature, the reply to the ques¬ tion as to key, in nine cases out of ten, will fie

^he pupil must be constantly reminded that the keynote of the scale containing the sharps or flats of the signature is the “key” of the piece.

Opinions will, no doubt, differ as to at what stage of progress scales should be introduced but it is prob¬ ably safe to sav that the average child of over ten years old, can learn to play the major scales, the hands separately, in one octave, during the first year of study. The next step will be to take the scalestwo oc¬ taves in graded rhythm on the lines laid down by W. S. Mathews, when the scales will immediately take on

new life and meaning. . The pupil should make a list of the major scales thus.

C-no sharps; G-one sharp F; D-two sharps F, C; A-three sharps F. C, G; E-four sharps F, C, G, D, B-five sharps F, C. G, D. A; F sharp—six sharps F. C G, D, A, E. Then a similar list of those with flats should be written out and committed to memory, until thev become part of the texture of his musical mind.

' The pupil should be thoroughly tamiliar with all the major scales and able to play them in any order, with¬

out hesitation. . The lessons may be varied by opening a volume of

music (Bach’s Preludes and fugues, for instance), and omitting minor keys for the present asking the PupA to play the scale corresponding to the key signature of the music. This helps to establish the connection between the daily scales and the living music.

It is also a good plan to select a particular scale each week for special study, in addition to the regular

THE ETUDE

scale work. This scale can be played first in'two oc¬ taves, then in three, and finally in four octaves, e exact speed being ascertained and maintained throug the use of the metronome. The speed obtained should be recorded occasionally in the pupil’s notebook, and if a distinct progress is not shown within three months or so, there must be something wrong somewhere.

The “special scale” practice should also include exact knowledge of the lingering. This can be tested by a series of questions, which the pupil should answer without placing his fingers on the keyboard, or bet¬ ter still, with his back to the piano. The questions will run somewhat as follows: ’ ,

“Which notes are played by the third finger? Which by the second?” “Which by the thumb? By the

fourth finger?” And then, “What is the name of the third note of

the scale?” “Of the sixth?” “Of the fourth? .’Play

the tonic chord of the scale.” ~ This close study of the scales, if steadily persevered

in, will eventually give the pupil that most desirable, faculty of calling up a mental vision of each scale, and effectually prepare the ground for the study of inter¬

vals and chords.

'RANGE RECORDING, INDIAN MELODIES.

Finally the pupil should be accustomed to name the notes of the scale in order. At first he will be obliged, no doubt, to refer to the keyboard, but in a short time he should become independent of that crutch. His attention should he called to the fact that each of the seven letters of the alphabet used in music must occur once, and once only, in each scale.

The scale of F sharp or G flat among the majqr scales affords the final test of accuracy, the E sharp of the one, and the C flat of the other, making the difficulty. In the F sharp scale the chances are 10 to 1 that the pupil will call the seventh note not E sharp but F. He must be reminded that the seventh note of the scale must be raised a half ; tone, and also that if that note be called F and not E sharp, that the letter E will have been omitted, and both F and F sharp included which, like Mary’s lamb, “was

against the rule.” The C flat of the G flat scale will be an exactly

similar difficulty, and will be similarly explained. A few repetitions will probably be sufficient to fix this in the mind of the pupil.

This principle is to be understood throughout the entire practice: All little difficulties are surest, quickest, and most permanently overcome if their fundamental element is at once made a thorough study in all its bearings.—Kullak.

MENDELSSOHN’S HAPPY CHRISTMAS

SPIRIT

Mendelssohn’s name is associated with so much that is delightful and fairy-like that it is not sur¬ prising to find the wintry Kris Kringle and the com¬ poser of A Midsummer Night’s Dream music on the friendliest of terms. The following letter from his sister Fanny to Klingemann gives a good idea of the Mendelssohn household. Mendelssohn was at this time nineteen years old, as the letter is dated Decem- j ber 25th, 1827—the year, it will be recalled, in which j Beethoven died. , , . I

“The Christmas-candles are burnt down, the beauti¬ ful presents stowed away, and we spend our Christ¬ mas day quietly at home. Mother is asleep in one corner of the sofa, Paul in the other, Rebecca absorbed | in the Fashions, and I am going on with my letter. On days like yesterday, we miss you more than gen¬ erally; and as ‘generally’ we speak of you every thir¬ ty minutes, you may draw the conclusion. Our Christ- mas-eve however, was very merry and pleasant. Felix had written for Rebecca a children’s symphony with the instruments of the Haydn one, which we per¬

formed. It is very amusing. For me he has composed a piece of a different kind, a four-part chorus with small orchestral accompaniment on the chorale, Christe, du Lamm Gottes, I have played it several times to-day. It is most beau-

tiful.” The happiness which was Mendelssohn’s in his

home life seems to have in no way deserted him after his marriage to Cecile, for after the Christ¬ mas of 1836, in a letter to Fanny dated December

31, he says: “Oh, Fanny, this has been such a Christmas for

me! I have never seen anything like it before, and never shall again. I have been spending the most glorious time, the most perfect days, in which the mere fact of existence is enough to fill one with fresh joy and gratitude. I cannot describe it to you as you do not yet know my Cecile. How I wish you did!”

WE CAN LEARN FROM OTHER THINGS.

ARTHUR SCHUCKAI.

My teacher once told me to watch a cat. I did watch a cat and learned many surprising things— about piano playing 1 For • instance, I was ex¬ tremely awkward—extremely so. It seemed im¬ possible for me to go ’round a corner; I was . built on square lines. If I knew my lesson ever so well I was sure to spoil it by mere clumsiness. Now a cat is nothing if not graceful. A cat never knocks anything over. Her every move¬ ment is pure grace, and as I watched her my playing began to lose its stiffness. I no longer held my wrist like an iron rod.

Then again I always played in a hurry. I thought that was the way to show I knew my lesson—by playing fast. And I would drive away with great energy, leaving a world

of dust behind and whole blocks of dead notes, and my

teacher—half stifled and helpless in his chair. Now a cat is never in a hurry. She never makes mistakes.

’ She may be going ever so fast and yet she seems to creep. A cat very seldom shows mental haste and confusion. She calculates. In all this there was a les¬

son for me. Of course I didn’t think of all these things by

myself. My teacher pointed them out to me. But realize now that the lesson he was trying to teach me was this: just as I learned something by watching the cat so I should examine everything that came my way and try to learn something from it. I re'

member this surprised me very much. You see he

wanted me to think of my music even when away from the piano! So many students never think o their music until the practice time comes (or some one calls their attention to the fact that the practice

time has come) and they straightway forget all about it when the period is over. It seems to me the goo student—well, he can learn a lesson from almost any¬

thing. For instance, here is an easy riddle: Why >s a good student like a good watch? Of course that too easy—but suppose you try to make some riddles

like that.

Our Humble Beginnings in Music By LOUIS C. ELSON

jjnl tcrmnii tome oj hit mo si wonderful wort*.]

5\h™«TZ dLS-“b""k'^•*

£££orE”is,s”E"gl”i He**» "«■

h,eai:? a \erylce at St. Mary’s. I am a lover of Muslrk “J n,iaUi ■ was uneas.v thure; and the poAtliug out iwln6 Jn8Jltution of Singing Psalms, by the boisterous Organ,Is, that which can never lx? Justified before the

’ Religious Ceremonies." i, is umi

RIDICULOUS INTERLUDES.

F* ,. -p|iat was the American Colonies, before ,hc United States. Many proofs of musi-

P *rtv in the Colonies can be given. In the FT j| would have been an unheard-of extrava- Lm supply hymnals or psalm-books to all of the *Lion Only the minister and a deacon or two ES the printed music and words. Nevertheless, r!hvrans were at first avoided in New England, and PL balms were sung to about half-a-dozen tunes,

■x v , 0l t{lc congregation was usually familiar are clergymen who fret even at an interlude between M*® . every two verses of the hymn, but two centuries ago, iwTto the practice of “lining-out” the tune, in London and sometimes in New York and in Vir- • frmnate deacon who owned the book of the ginia, there was an interlude between every line of

lhcm line by line t- the congregation, which the psalm. That our readers may not suspect exag- ' jLlin. as it was doled out to them, and then geration in this matter we append here a psalm thus

f . c.tills nlaved havoc with treated. It is reprinted from “The Psalms set full U for more. Sometimes this played havoc with -sense of the words as well as of the music. Thus, L deacon read, (as he certainly would tn this case) ::separate lines of the following sentence-

like Lord will come and ho will not Keep silence but speak out,

L would be a rather violent contradiction in each

THE ORTHODOX BASS VIOL. [

i la New England there was a vio¬ la prejudice against supporting A voices in church with an organ,

lythe forefathers allowed the vio- -;tllo (bass viol) to creep in can- :lie explained, but that instrument ii in the odor of sanctity, while .organ was distinctly heterodox.

>1 more often there was no instru- M at all to lead the flock, and one

the deacons usually flung himself a the breach and “set” the tune, ais,hegave the pitch and started

'* first line. This was not always perfect success, if we may trust i diary of good old Judge Sewall,

writes—

music is absolute. The gnatest feat that the young ladies of the 18th century generally attempt¬ ed was to give a “Battle-piccc” upon the piano, in which a few bass-notes served for cannon, and some measures in a minor mode for "the cries of the wounded.” “The Battle of Rosliach,” composed by Johann Christian Bach, a son of the great composer, before 1760, lias these wonderful effects as well as a set of scales which arc labelled “charge of the ca?a!r\,"

It will seem almost incredible to what lengths this aT1d some very sedate broken chord* which typify the ornate “giving out” and slill more embellished inter- rattle of the musketry.” The Mtt luding of psalm tunes was carried. Nowadays there imagined anything that he was told to do in those good

old times. The ostracism of the heterodox organ was empha-

sized in Boston, in 1713, when Mr. Brattle, a Puritan with music in his soul, left an organ to his church. He had his doubts about their accepting it, and suggested that a man be brought from London to “Play skilfully and with a loud Noise,” upon the instrument. If the church rejected the gift it was to be offered to the Episcopal Church in Boston. The Brattle chu

treated. It is reprinted from “The Psalms for the Organ or Harpsichord, as they are plaid in Churches and Chapels, in the manner given out ; as also with their Interludes of great Variety, by Mr. joctcd it very curtly. tin ■ tti«-i

Danl. Purcell.” ,hink !' Pf.°«,cr to UM ,he " The music teachers, in these early days, had earnest ship of God. sai

work to make both ends meet. Their advertisements Cotton Mather gas

led i “We

J the Cot e forth wild shrieks of denunr ion against the iniquity of its bri

But it was used, nevertheless, it must have l>rautifird the trrvici

and mellow, even If it was not m larger than a full-sized cabinet gan of to-day. The instrument

mouth, ami the present writer had the pleasure of playing upo and can certify to its charm.

OUR PIRIT COMPO«RR» Tlie first composers of Ami

It had I wen the custom in the century, to t«»rrow whatever t

1 M .n.-ssto.u air. White to set it.” . . . dancing, arithmetic,

^ was not the only time that the P'°us g bring in a few do ar versatile in a similar • ' -J “ little later Ttl„ parlv music stores were versat.^ ^

of the

England. t the King." and "Hrarti

I preaches from l’s. 06. ^Bor^but «e to set the tune. I Intended Wtodsor but

md F icis Hopkit motive music, i-tunes, but tl«

The for latter wr>

havoc with the music, for we read * ,1k same diary—

otb, 1*13, Mr. Stoddard preaches P. r«KLow . .i Trlod at

Th£ Car'd otw'finds^oceries and"dry goods r and one nnus 5 , «« d-itnc «

Lauras fc a “accomplishment that ?°M»lelpMa, the catty concerts were

.^colonies from England. In Shakespeares Clemen of Verona," Lucetta says to Jl,‘ia

Boston, tat not“^Tbali.

^^‘'Bos‘°nNcw5

J"” of April ^ (lw

-This Is to give notl-tb*'* m^Ick.^^tnjeoU^;

; Mldntgbt sing It. madam, to a tune^ , , mp a note; your ladyship ran set. NS that Julia had the ability to P'tchca.ntU"i

VrT’> ^ay^orc^’s “Introduction to the “ 1664, we read about this matter— .trtngs. reaas »«* e

sAK.'gSsi'Sa.-- suss ,?«.. «• —- ««^

,**» » .. which Jatet Scw-aiJ jdhere <0. yet he certainly persevered, f or 'vCl. g kept a bo^d,"j h^,h larding and f ater He states that he set “Windsor "* { Mrs. En { accommodated Mustek and

& «r«.se may be found for the Ui'll I sorts of Neeaic-work J,and Puritan against using the organ u> ^ ' taught all so ^ (and even in America) there was. *** Danctng etc- FIBtDS.

Ia* most senseless and tasteless dtsp^y ^ kEyeOARD B (few and far 4 nts made during the interludes and m,,5ic that t1,rsc .[ possesses several

I of tht. tune upon tha, instrument W What was ^ prcitttt writer pc

,)y uo means an opponent of good J* betvvCcn) studie-t

I 1,3(1 a spmet in his own Boston home, o

hym that Ml created . should examine hi* song, wondrous Free,” in Oscar <> . Lyon and Franci* Jf.qikinwin article such as thi*. to pay U search which Mr. Sonneck h ter of early American music.

Rut much more typical ,h« the first native eottiposer, the to devote himself entirely to i,. Naturally he nearly stai

Billings. He *»* bom *" 1 there in !**•• H* *** 1 * wildly enthusiastic for mu« while he was a tanner s appr harmony cxeretse* wit ^

When he i out every • fessed that unin, ent i°n;

else i t tm

He lov the

old A»ei fugal constructi'

s. Anyih a couple 1

. they

: fo

„1K ... which one vo.ee ,f measure war called *

tune of th'» kind which <J themselves.

858

old ones. Each tribe has a different language, and the only way all can talk is with the sign language, which is universal among the tribes. They are great socialists, live together in villages, divide with one another. The chief is not a rich man, but a leader. The only grafter among them is the medicine man. He has the right to claim anything for a cure.

HELPS IN SCALE PLAYING.

BY ALICE M. STEEDE.

Not many teachers have escaped encounter with the pupil to whom scale playing seems unmitigated drudg¬ ery, and who consequently avoid it until the last ten minutes of the practice hour. Then the pupil scrambles through the allotted scales, perfectly satisfied it he can only “come out right’’—that is, end with the right fingers, forgetting that a musical scale and a problem in arithmetic have not much in common.

It has been said that Chopin never used correct fin¬ gering in playing scale passages. If that is true one may depend upon it that he obtained his wonderful effects in spite of incorrect fingering and not because of it. In any case it is very evident that ordinary mortals stand a very poor chance of attaining smooth scale passages unless the finger¬ ing has become invariable and automatic.

In addition to the finger dexterity which should result from scale practice the pupil should acquire through the same medium that sense of key rela¬ tionship which is necessary for the proper under¬

standing of music. . It is evident, then, that every teacher of music

should exercise all his powers in making scale playing interesting. The pupil's expectations should be aroused and his interest kept alive by every ligitimate means, and finally scale work will become an exceedingly interesting part of the lesson and, consequently, of the practice hour.

The connection between the scale and even the simplest piece of music must be established, and the distinction between “scale” and “key empha-

The meaning of the word “key” is perhaps best explained by taking some well-known tune, America, for example, and playing it m various keys, calling the pupil’s attention to the black keys used in the transpositions. Or the teacher may require the pupil to sing the scale of L. When that has been done the next question will be “Now can you sing the same tune a little higher, beginning on D?” If the pupil can do this correctly, the notes can then be played on the piano, and the pupil’s attention directed to the necessary F sharp and C sharp.

In giving any fresh work to the pupil the first question to be asked is, “What key is this piece written in ?” It is almost incredible what an amount of repetition is required to make this clear to the mind of the average pupil. If one sharp should stand in the key signature, the reply to the ques¬ tion as to key, in nine cases out of ten, will be

^rhe pupil must be constantly reminded that the keynote of the scale containing the sharps or fiats of the signature is the “key” of the piece.

Opinions will, no doubt, differ as to at what stage of progress scales should be introduced, but it is prob¬ ably safe to say that the average child of over ten years old. can learn to play the major scales, the hands separately, in one octave, during the first year of study. The next step will be to take the scales in two oc¬ taves in graded rhythm on the lines laid down by W. S. Mathews, when the scales will immediately take on new life and meaning.

The pupil should make a list of the major scales thus: C_n0 sharps; G—one sharp F; D—two sharps F, C; A—three sharps F, C, G; E—four sharps F, C, G. D; B—five sharps F. C, G, D, A; F sharp—six sharps F. C, G, D, A, E. Then a similar list of those with flats should be written out and committed to memory, until they become part of the texture of his musical mind.

' The pupil should be thoroughly familiar with all the major scales and able to play them in any order, with¬

out hesitation. The lessons may be varied by opening a volume of

music (Bach’s Preludes and Fugues, for instance), and omitting minor keys for the present, asking the pupil, to play the scale corresponding to the key signature of the music. This helps to establish the connection between the daily scales and the living music.

It is also a good plan to select a particular scale each week for special study, in addition to the regular

THE ETUDE

scale work. This scale can be played ?irst in two oc¬ taves then in three, and finally in four octaves, the exact speed being ascertained and maintained through the useof the metronome. The speed obtained should be recorded occasionally in the pupil s notebook, and if a.distinct progress is not shown within three months or so, there must be something wrong somewhere.

The “special scale” practice should also include exact knowledge of the fingering. This can be tested by a series of questions, which the pupil should answer without placing his fingers on the keyboard, or bet¬ ter still, with his back to the piano. The questions will run somewhat as follows:

“Which notes are played by the third finger. 'Which by the second?” “Which by the thumb? By the

fourth finger?” • And then, “What is the name of the third note of

the scale?” “Of the sixth?” “Of the fourth?” ‘/Play

the tonic chord of the scale.” This close study of the scales, if steadily persevered

in, will eventually give the pupil that most desirable faculty of calling up a mental vision of each scale, and effectually prepare the ground for the study of inter¬

vals and chords.

MENDELSSOHN’S HAPPY CHRlSTMit

SPIRIT S

Mendelssohn’s name is associated with „ that is delightful and fairy-like that it is „<\niacil prising to find the wintry Kris Kringle anrl a SUr' poser of A Midsummer Night’s Dream music n'T friendliest of terms. The following letter fr !/ ■ sister Fanny to Klingemann gives a good ideaTf 7 I Mendelssohn household. Mendelssohn was 7 time nineteen years old, as the letter is dated n. ““ I ber 25th, 1827—the year, it will be recalled, in ‘ Beethoven died.

“The Christmas-candles are burnt down, the beauti ful presents stowed away, and we spend’our Christ mas day quietly at home. Mother is asleep in corner of the sofa, Paul in the other, Rebeccaabsorbed in the Fashions, and I am going on with my |ettcr On days like yesterday, we miss you more than gen¬ erally ; and as ‘generally’ we speak of you every thir¬ ty minutes, you may draw the conclusion. Our Christ- mas-eve, however, was very merry and pleasant. Felix had written for Rebecca a children’s symphony with the instruments of the Haydn one, which we per¬

formed. It is very amusing. For me he has composed a piece of a different kind, a four-pan chorus with small orchestral accompaniment on the chorale, Christe, du Lamm Gottes, I have played it several times to-day. It is most beau¬ tiful.”

The happiness which was Mendelssohn’s in hii home life seems to have in no way deserted him after his marriage to Cecile, for after the Christ¬ mas of 1836, in a letter to Fanny dated December 31, he says:

“Oh, Fanny, this has been such a Christmas for me! I have never seen anything like it before, and never shall again. I have been spending the most glorious time, the most perfect days, in which the mere fact of existence is enough to I one with fresh joy and gratitude. I cannot describe it to you as you do not yet know my Cecile. How I wish you did!”

Our Humble Beginnings in Music By LOUIS C. ELSON

im. it io xsunjt ws Ttrrt tlnutUH Oratomo, Esther, Christofori per/ect*. «. pUmoJorU ^ . ’ ,nwn llund'l pruiur

r LIEU RANGE RECORDING

Finally the pupil should be accustomed to name the notes of the scale in order. At first he will be obliged, no doubt, to refer to the keyboard, but in a short time he should become independent of that crutch. His attention should be called to the fact that each of the seven letters of the alphabet used in music must occur once, and once only, in each scale.

The scale of F sharp or G flat among the major scales affords the final test of accuracy, the E sharp of the one, and the C flat of the other, making the difficulty. In the F sharp scale the chances are 10 to 1 that the pupil will call the seventh note not E sharp but F. He must be reminded that the seventh note of the scale must be raised a half tone, and also that if that note be called F and not E sharp, that the letter E will have been omitted, and both F and F sharp included which, like Mary’s lamb, “was against the rule.”

The C fiat of the G. flat scale will be an exactly similar difficulty, and will be similarly explained. A few repetitions will probably be sufficient to fix this in the mind of the pupil.

This principle is to be understood throughout the entire practice: All little difficulties are surest, quickest, and most permanently overcome if their fundamental element is at once made a thorough study in all its bearings.—Kullak.

WE CAN LEARN FROM OTHER THINGS

ARTHUR SCHUCKAI. J

Mv teacher once told me to watch a cat. 1<M watch a cat and learned many surprising things- about piano playing! For instance, I was ex¬ tremely awkward—extremely so. It seemed * possible for me to go ’round a corner, was built on square lines. If I knew my lesson ever so well I was sure to spoil it by mere clumsiness. Now a cat is nothing if not graceful. A » never knocks anything over. Her everyJ”0*' ment is pure grace, and as I watched her : playing began to lose its stiffness. 1 no

held my wrist like an iron rod. , Then again I always played in a Jiurry.^

thought that was the way to sh°w 1 vj my lesson—by playing fast. And drive away with great energy, leaving a

of dust behind and whole blocks of dead notes’^J teacher—half stifled and helpless in his c air‘ , cat is never in a hurry. She never makes m

’ She may be going ever so fast and yet s ^ creep. A cat very seldom shows men a .

confusion. She calculates. In all this there

son for me. , . , , „ things F Of course I didn’t think of all ^ -

myself. My teacher pointed them out r realize now that the lesson he was trying ^ was this: just as 1 learned someth,ng by « the cat so I should examine everything , r

my way and try to learn someth,«ig from

member this surprised me very much

wanted me to think of my music t f think *'! from the piano! So many stu en (0r their music until the practice time ^ praetk- one calls their attention to the fac t a|jsW' time has come) and they straightway ^ t)K gr¬

it when the period is over. It see”1* almost # student—well, he can learn a less j-jddle: ^ thing. For instance, here is an easy course a good student like a good watch? V ^ 0,

too easy—but suppose you try to

like that.

Once upon a time (since some of this article will read like a fairy story) there was a country Where music had a very barren existence and where a spinet or a piano was a sign of such luxury as to be quite remarkable. That was the American Colonies, before they became the United States. Many proofs of musi¬ cal poverty in the Colonies can be given. In the churches it would have been an unheard-of extrava¬ gance to supply hymnals or psalm-books to all of the congregation. Only the minister and a deacon or two possessed the printed music and words. Nevertheless, since hymns were at first avoided in New England, and all the psalms were sung to about half-a-dozen tunes, every member of the congregation was usually familiar

with the music. This led to the practice of lining-out the tune.

The fortunate deacon who owned the book of the words, read them line by line to the congregation, which sang each line as it was doled out to them, and then paused for more. Sometimes this played havoc with the sense of the words as well as of the music. Thus, if the deacon read, (as he certainly would in this case) the separate lines of the following sentence—

“The Lord will come and he will not Keep silence but speak out,’

there would be a rather violent contradiction in each

THE ORTHODPX BASS VIOL, [j

In New England there was a vio¬ lent prejudice against supporting the voices in church with an organ. Why the forefathers allowed the vio¬ loncello (bass viol) to creep in can- not be explained, but that instrument j was in the odor of sanctity, while the organ was distinctly heterodox,

i But more often there was no instru¬ ment at all to lead the flock, and one

! of the deacons usually flung himself into the breach and “set” the tune, that is, he gave the pitch and started the first line. This was not always a perfect success, if we may trust

| the diary of good old Judge Sewall, who writes—

1705 Dec °8th Mr Pemberton prays excellently, and

fell Into High Dutch <fid.1to? «£^ 1

judgt

liis wife frequently played; but even lie was utterly repelled by the florid style of the treatment of the psalms by the organists in England. He writes from Oxford—

“I heard a service at St. Mary’s. I am a lover of Mustek to a fault, yet I was oneaev there - and lh. ..lit of the Institution of Singing Psalms, bv the U.lsterous Organ, is that which can never l» Justlll.-d before the great Master of Religious Ceremonies."

RIDICULOUS INTERLUDES.

It will seem almost incredible to what lengths this ornate ‘‘giving out” and still more embellished intcr- luding of psalm tunes was carried. Nowadays there are clergymen who fret even at an interlude between every two verses of the hymn, but two centuries ago, in London and sometimes in New Vork and in Vir¬ ginia, there was an interlude between every line of the psalm. That our readers may not suspect exag¬ geration in this matter we append here a psalm thus treated. It is reprinted from “The Psalms set full for the Organ or Harpsichord, as they are plaid in Churches and Chapels, in the manner given out; as also with their Interludes of great Variety, by Mr Danl. Purcell.”

The music teachers, in these early days, had earnest work to make both ends meet Their advertisements

of the old Instruction book* and the absence of all classical music is absolute. The greatest feat that the young ladies of the 18th century generally attempt¬ ed was to give a "Battle-piece" upon the piano, in which a few bass-notes served for cannon, and some measures in a minor mode for "the cries of the wounded." “The Battle of Rosbach," composed by Johann Christian Bach, a son of the great composer, before 1760, has these wonderful effects as well as a set of scales which are labelled “charge of the cavalry," and some very sedate broken chords which typify "the rattle of the musketry." The auditor very obligingly imagined anything that he was told to do in those good old times.

The ostracism of the heterodox organ was empha¬ sized in Boston, in 1713, when Mr. Brattle, a Puritan with music in his soul, left an organ to his church. He had his doubts al»out their accepting it, and suggested that a man l>e brought from London tci “Play skilfully and with a loud Noise," upon the instrument If the church rejected the gift it was to be offered to the Episcopal Church in Boston. The Brattle church re¬ jected it very curtly, the other accepted it. *‘Wc do not think it proper to use the same in the public wor¬ ship of God," said the Congregational church, and Cotton Mather gave forth wild shrieks of denuncia¬

tion against the iniquity of its bring used at all in Boston.

But it was used, nevertheless, and it must have beautified the service of iod greatly, for i

and mellow, if it arger than a full-sized <

t*-day. ~ exists, in St. John's mouth, and the pi had the pleasure o and can certify to i

AN early hymn tune V

into High butch 3vi another tune, wt— - prayed Mr. White to set it.”

This was not the only time that the pious made havoc with the music, for we read a little ae in the same diary—

'•July 5th, 1713. Mr. Stoddard preaches P- - d fca to set Low Dutch tone and fatted. Tried again ana into the time of 119th Psalm.”

This “setting” was an accomplishment that camejn to the colonies from England. In Shakespeare s Gentlemen of Verona,” Lucetta says to Julia

“That I might sloe it. madam, to a tune. Give me a note: your ladyship can set.

Meaning that Julia had the ability to pitch a tun • And in Playford’s “Introduction to the bk 1 Musick,” 1664, we read about this matter—

that ln..,th?.fI^nltn0B tCpUch of0tyour

'• hl?h_MJL“?!toteywithmout

e pupils ■ taught

“Two

y.jur Plain Song you equal it ™Jee, that when you eome to y> Tacit it without squeaking, and Mumbling."

This ,

your lowest

injunction which Judge Sewall could

have a strangely pathetic ring, for they taut everything as an adjunct !.. their tonal ■ Since pianos were scarce they offer to Urn their own instrument to practice on. i n dancing, arithmetic, drawing, anything that bring in a few dollars to their net.

The early muric stores were versatile in

-tr-'e“ th. ^remtrriy'

Boston? but not in Philadelphia the early concert, were

generally combined with a hall. Here is an advertisement from the “Boston News

Letter” of April 16th. ,716~

“Tills is to give »■?« I/>ndon, a choice T""" ” h,« Viola, violin., slating Of Book, of Instruction, ^'.'ll’thw Instruments ah.err tn«itl<*ed : dancing tancht

S4S?-r"5.“~.kw-........ true that Mr. Enstone did not sell ether dry goods with his “Musickal Instruments, but

Mrs. £«»**« hwrith Warding and of Nceile-work with Mustek and

It is t or wet f

Ladies may taught all sorts

adhere to, yet he certainly persevered, for six roonths later he states that he set “Windsor a r •

Some excuse may be found for the prejudice ^ Pilgrim and Puritan against using the organ in ci • I" England (and even in America) there was some Dandn? etc.

times a most senseless and tasteless display o -,-vroard BATTLE fields. Ifllishtnents made during the interludes and even the keyboard BAT

Swing out” of the tune upon that instrument J« VVhat wn* rt J ... •ewall was by no means an opponent of 8°° .. , between itiu.i.i - ' and he had a ’spinet in his own Boston home, on

OUR FIRST COMPOSERS. The first composer* of America

„__ vere not of s very amlritious order. ^ It had Fern the ruttom in the 18th

century, to borrow whatever tunes murjt vr.Ats. wc nfP,|r,| ,^-u|ar ,,nr, from

England, “kule Britannia," “God. slvc the King,” and “Heart* of Oak" were boldly tak¬ en and »ct u. anti-Briti*h poetry Bu, Jamr* Lyon and Francis Hopkinann nu.de a creditable liegirming to our motive music. The former devoted H.mwlf to hymn-tunrs, hut the latter wrote the fir., M-cular music that was created on this side of the Atlantic One should examine his song, "My Day* have Wen an wondrous Free," in Oscar G, Sonn«k'» work on “James Lyon and Francis Hopkinson,” and it i* fitting, in an article such as this, to pay tribute to the splendid re¬ search which Mr. Sonneck has displayed in the mat¬ ter of early American music.

But much more typical than Lyon or Hopkinson was the first native composer, the first American who tried to devote himself entirely to contporitiott—and live by iL Naturally he nearly starved. This wa* William Billing*. He was Ixirn in Boston in 1746. and died there in 1800. He was the first American who was wildly enthusiastic for music. He laugh, himself, while he was a tanner's apjiremice. ami wrote his first harmony exrrci*cs with chalk <m sides of sole leather. When he sang in chorus his stentorian voter drowned out every one else in the vicinity. It must be con¬ fessed that his Art ha« a Inimonm* side, which i» quite unintentional. He hoed the “fugue-tvmr* of his time Now those old American fugue-tune- are as innocent at fugal construction as the) are of bring

ig in which one voice imitated comic operas, another for a :ouplc s called

one." “l-cnox" i* a tunc of this kind which c its can examine for themselves.

860

A MUSICAL PATRIOT.

Billings was a true patriot, and when his beloved Boston was in the hands of the British he withdrew in anger to Watertown, six miles away. Here he took revenge somewhat similar to that which Wagner took on France when he wrote the “Siege of Strassburg. Like Wagner, too, he wrote his own words and music. Billings composed a paraphrase of the beautiful 137th Psalm. He began it—

“By the rivers of Watertown we sat down : Yen we wept when we remembered Boston.

And then he let loose the full tide of patriotism with—

, "If 1 forget thee Ob Boston- - Then let my numbers cense to Bow, Then lie my Muse unkind. Then let my tongue forget to move And ever be confined. Let horrid Jargon split the air And rive my nerves asunder, Let hateful Discord grate my ear. As terrible as Thunder."

Poor Billings! He was poor, uncouth, not over- cleanly, and deformed. The Boston boys made fun of him. They hung a couple of fighting cats under his sign—“Billings’ Music.” A seemingly earnest young man once called upon him with a serious face as if upon an important musical mission. After Billings had promised that,he would answer any musical questions that might bd put to him, the stranger asked—“Can you tell me, sir, whether snoring is vocal or instru¬ mental music?” Had Billings possessed his wits he would have given the obvious answer—“It is to be classed as Sheet music,” but he only raved and swore.

For all that the Bostonians laughed at him. and in spite of the fact that Ritter in his History of Ameri¬ can Music dismisses him contemptuously as “Bill Billings,” the man had his grandeur too. No man who is deeply in earnest is wholly ridiculous, and Billings was very much in earnest. There is the true ring in his lines—

“Let tyrants shake their iron rod. Let Slavery clank her galling chains. We fear them not, we trust In Cod. New England's God forever reigns."

His hymn of “Chester” is still sung, and in revolu¬ tionary times it was heard around many a Yankee camp-fire. The poverty of the man is shown by an ap¬ peal of a Boston committee to the public to subscribe for one of his works (published in 1729). “Because of the distressed situation of Mr. Billings’ family.’’ He was buried in the old Granary Burying-ground, in an unmarked grave, and as with Mozart, no one knows where his body rests.

One could carry the tale of our beginnings still further. One could speak of a good musician, an oboe-player, coming to Boston and founding the first permanent American orchestra there, and. Gottlieb Graupner, too, was obliged to do some heterogeneous work and some lively hustling to get his meals regu¬ larly. He taught piano, oboe, double 1 ass, and a few other instruments; he engraved music; he directed the Philo-Harmonic Orchestra; he gave concerts; he kept a music store. Truly the paths of the beginners of our music were thorny, and yet, to-day, not two cen¬ turies later than these primitive efforts above described, the United States spends more money on music than any other nation in the world.

THE SECRET OF GOOD STACCATO

PLAYING.

BY FRANKLIN TAYLOR

In all staccato playing, the way in which the key is quitted is as important as that in which it is struck. Staccato on the pianoforte is made possible by the action of the dampers, which fall upon the strings di¬ rectly the key is loosed, and stop the vibration, and therefore the sound. But the speed of the falling damper is governed by the speed of the rising key. and if the key were made to rise gently and compara¬ tively slowly, the gently falling damper would not have sufficient force to check the vibrations instantly, and the cessation of the sound would be less abrupt than would be the case if the damper were allowed to fall with its full force. Accordingly, if in staccato playing the fingers quit the keys rapidly and vertically, the dampers will act with the full force of their springs, and the sounds will cease with corresponding abruptness; while if they are gently drawn from the keys towards the player, the keys will rise more grad¬ ually. following, as it were, the retreating fingers, and the result will be a softening and quieting of the staccato.—Technique and Expression in Pianoforte

Playing.

THE ETUDE

avoid unnecessary excitement at

PUPILS’ RECITALS.

BY FANNIK EDGAR THOMAS.

Perhaps the chief value of the pupils’ recital is the possibility of establishing confidence in playing in public It opens’up a wider horizon before the student than can be attained by playing merely in the home or in the studio, enabling him to perform at his best under circumstances that might otherwise be trying and novel I have seen the most timid, bashful and nervous hoys and girls transformed into reliable players by means of a regularized systeip of little concerts or recitals before

a small circle of guests. To attain the desired end. however, it i* highly

essential that everything of a distracting or disturbing nature should be avoided. The performance at rectal should be made a matter of course like the music lesson itself. Nerves, temperament, looks, and all disquieting excitement should lie treated as if they did not exist, and music should be made the all-important subject of

the hour.

TRAINING IN SELF-CONTROL.

As a rule there is altogether too much excitement attendant upon pupils’ recital concerts Amid it all the true purpose of music is almost lost sight of. Why so much fuss? The work to he performed bv the embryo artist is familiar to him; he has practiced it well, and it is one which has—or should have—been selected and arranged expressly by a kindly, intelligent, sympathetic teacher whose object is the training of the pupil mind in self-control and self-mastership.

The presence of strange people quieting factor for the voting sti almost the first time in puhlic. 1 the only one. Many such affairs a such a blaze and blare of fuss an astonishing that they come off as wi result of all this excitement is eitl student gets scared «mt of his life, an astonishing vanity, as if the centered round his bedecked little |x the victim of nerves, tears and “tern to be petted and coaxed into playi velops a boldness and effrontery that alluring.

Two kinds of excitement surround pc ance. one conducive to strength and the other to weak ness. The first is the true artistic joy of feeling and expressing emotion through music. The second relates wholly to personal considerations—the fear of breaking down, the novelty of being looked at. the pride of new clothes, the flurry’ of being part of a crowd all stirred up and “fixed up." the comparing of things, the watch¬ ing who gets applause from teacher or audience, and then that aw ful flower fete with its greed anti grab and disappointment. All these things arc anti-artistic.

The fear of breaking down may be in a great measure overcome by concentration—the power of holding in check all thought save that relating to the playing of the piece in hand. Also a thorough knowledge of the piece is needed—the power of being able to play it accurately in varying speeds before the teacher or willing friends; one should be able to play the piece much faster or slower than the required tempo, thus leaving a margin for whatever may turn up The attitude of mind of the performer should he one of intense pleasure at being able to give to others enjoy¬ ment that be himself appreciates keenly and is able to offer at its best.

iturally

uld be

that it i

or else he de¬ fer from

die perform-

THINK BEFORE PLAYING.

Taking time to think before beginning to piny is a great help. Think; imagine the first strains; get bal¬ ance! Give the audience time to get used to you. to decide whether you are in pink or blue, white shoes or hlaekl Do not worry about yourself—in fact, don’t worry about anything. It is not such an important thing anyway, It is probably not the last time in your life that you will he called upon to do yourself justice. Take it easy, and think hard about the beauty of the music until all else fades out of the way. You may say, “It is easy to talk.” I know that. If I (lid not know very certainly about such things from ex¬ perience I should not be telWbg you ulxiut them

Some piano plavers fly onto the plat form, perch upon one corner of the piano stool without even finding where the pedals arc, and then dash into the piece as if they expected the piano to melt before they got through, or at least as if they wanted to get finished as soon as possible from deadly fear of a breakdown.

Why all this haste and rush? Nothin* i. „ impressive and tiresome. nM>re Bn-

Personal.,. I can never sec why it i, tha, ...» dr» "i v shoev belts, etc., should 1* wora recitals Mtrrl> playing in public requires the ease m wrist, neckline, waist, armhole and aC? rcct. not to speak of the precious attention invotl •' preparing new clothes when all the available a*,!:”1 needed 111 preparing the work in hand. ® K

As for those “bouquets 1” Why cannot young artis1, accept them with grace and dignity instead defi u»K at them as if they were the last flowers on eJsi W hy not accept them softly and gracefully, *jth ' quiet impcrs.-nal manner as if they were a tribute! the beautiful music and to one’s self’ \Vb„ ° leaic them to beautify the platform in the those who have been kind enough to send them to you > One of the prettiest sights 1 ever remember is this connection was when a soloist, singing win, orchestra, received a lovely lx.uquet of carnations. At the next numlwr every member of the orchestra had a carnation in the lapel of his coat! How much non that sinner gained by this graceful action than in sw¬ ing a bunch of dusty, withered flowers in her room a day or two after There is a wholesale distribution of flow ers at some pupils’ recitals that resembles a charity Christmas-tree more than anything else.

No! Let us omit the “fuss and feathers* Let ns remember that the business of a recital is to pvt students and young artists an opportunity to become accustomed to public appearance so that they can at all times and in all places deliver the divine message of music to the best of their ability without thought of self, without thought of audience, without thought of anything save the highest ideals of the art we all sene.

SHOULD THE AVERAGE PUPIL STUDY

PIANOFORTE PLAYING.

A rrsiark frequently heard from the lips of parents whose children ar,- taking pianoforte lessons is; “My child has no talent, and I wonder if it is not a waste of money to continue his lessons.” To be sure, then arc those who cannot distinguish one note from an¬ other General Grant once stated that he could recog¬ nize two tunes; the first was The Star Spangled Ban¬ ner (of which he felt certain because the listeners arose and stood > and the other wasn’t But the tone-deaf jiervms are as few as the color-blind. Those who can recognize tunes, and whose hands and bra® are not abnormal or defective, can learn to play th' pianoforte There are many degrees of accompli® mem. finally culminating in the great concert irt* hut comparatively few reach the top rung of the Mfltr in any of life’s endeavors. ..

One must rest content in occupying a hum!* sphere if his capacities are unable to cause wm f reach the point where his name is included . elect. And so. one may study pianoforte playing » reap cnnsidcrai le pleasure and profit in doing ’ . [hough he may he limited in his ability. Study * any direction is a valuable mental stimulus, an practice the pianoforte encourages cottccntnMffl accuracy as well as **«hctic and emotional ment. Then there is a strong influence e«ra» the proper appreciation of that whtchji M ^ music One who studies music find* that j it is a matter of constant growth. ‘“”^5 forte recital, in .order to ascertain how artists interpret compositions with whic" ^ come familiar in his studies. His tnterttt music is also aroused, and he- i»,competent » great symphonic work* rendered by *

the etude

How Chopin Played Chopin Interesting Opinions of Modem Critics

and Famous Contemporaries

The country boy who comes to the city to make his fortune usually does so with a lively hatred for his “home-town." He has found it dull and stupid; he has

1 ' 1 ’ ~ystcries, and his eager young

ardent admirer of Chopin the pianist, used to say: "No one can play Chopin’s compositions as he can.”

If Poland's great singer could rise from his grave ; his festival polonaises with thei- ttpiored all us hidden mysteries, and Ins eager young to oring to our ears nis iesuvai -y

mind stretches forward to the starry lights of the great knightly qualities, his ballades in which sorrow .ul Dailv he hears the endless trains rumbling on, phantoms in national costume defile past us, his

„'on laden with produce and merchandise for mys- mazurkas which picture before our eyes the happy and Muscular sirei.gm , Sfimen and women, who have no part in his life the melancholy dances of the country people, and, Liszt rhapsody but strong ^ or experience—who are doing incredible things for above all, his nocturnes, his waltzes, his impromptus, to fall heavily on Chopin Jh»" transparent

fabulous rewards. It is only after po;nt iacc 0( this ornamental fabric, '■PWf!i;-ami turn makinc -upir:',■

; i 1C ! im.iann 1U .,1 : ' i. .. - ■?--pBt•■ n,. . \ ■ •.

•i ■Tj&jfr■ ■ 'MSsIseIIfMffSfn,n 11u<■ i> >-n.i.: • * n'/«<L -• i: >

Xpr'; '

861

profoundly pure and dreamy. It was not necessary for him to confound or to startle.”

These are not mere unauthentic anecdotes. One need only to turn to the memoirs of Chopin’s friends and pupils, to read his letters, to find upon every page proofs of the detestation which he had of that brutal strength, of the repugnance which he showed to that mere rhetorical audacity, which many virtuosi consider indispensable.

“He seats himself at the piano.” writes Chopin, amr a visit from his countryman. Sowinski, "strikes here and there, crosses his arms without knowing why. and pounds the poor innocent keys. He has enormous lingers made to hold a whip and drive a wagon some¬ where in the Ukraine. If 1 had no notion of the mountebank style of this artist, 1 would have found it out at this moment. With stricken ears 1 walked to and fro in my room.”

It, therefore, appears an error when many ot us imagine that we give plastic shape to Chopin when We use our muscles. In art physical strength is a very relative idea. Athletes are not worth much in art. Mere breaking of piano keys is about as inconclusive a proof of beauty of interpretation as the brilliant illu¬ mination of many German restaurants is a guarantee of the quality of the cuisine. Both have but one object, -0 draw the public.

Muscular strength may be of use to pianists for i

is “surely just a little outrf," as is. Liszt with his grandiose rhapsodies Schumann is slated for putting phil¬ osophy to music, and thereby making himself obscure and vague; Mendels¬ sohn, on the other hand, is criticized, because he is too clear, too precise, too understandable. The explanation of all this is doubtless that we are living too close to them. We have lived under their shadow too long.

It is the more surprising, therefore, to find that Chopin has escaped this peculiar phase of human criticism. He is like Beethoven in that the

COmrasi. - e-e— - . mann. declares that the playing of his master was always very quiet, and that the incomparable poet of the pianoforte seldom had recourse to a fortissimo. Thus, in playing his Pol¬ onaise in A flat major, for example, he did not use that thunder-like power to which we are traditionally accustomed. Chopin began the cele¬ brated passage in octaves quite pian¬ issimo and continued to the end without any very striking dynamic in crease. He especially avoided vocif¬ erous efforts and artistic fireworks.

"He hated all exaggerations.” says his pupil Friederich Streicher, “and

__ eotlATOt

chestra,'directed by a master conductor. „ he wishes his children to receive le»-knowi instructor of high standing, because he Vhflf that their musical taste will improve a*

technical proficiency. ^ gifted If only those who arc * do. *

lessons the teachers would have ,'t‘* * effor, v0

they know that by patient and ‘ontl" f vrry ord'"1*1; results will 1* achieved by « ;though ability. “The end justifies the ^«n\^n„in?. J end may not he far distant from largely.^ education is a emulative process, and H ^ ^

silts of a bit of knowledge ben 3 L^ve. ^ gradually accumulating until it f» ^ ' Hvilial'91’; 1 in the condition of cultured ’"'x’ert1 mcdium rf* •nwtir n f musical ‘Neoiiffh the

d the inflated granueur ui - -..J find in his heart-tearing restlessness the patno^

and the poetry of our own chaotic day. Like the 0 - town” to the sophisticated “country hoy, .as e come a “tradition.” In fact, this is so much the that Chopin stands in- danger of becoming the of "tradition.” F.very new pianist that catches of the public prides himself on knowing how Chopin.” In discussing this side of the p.amstm art,

Wanda Landowska, herself a great Chopin P recently made an attempt to break through t e of tradition in which the Polish genius is cntangl , order to find out how Chopin himself played h.s own big

c IS fiKe Deem oven CHOPIN PLAYING wk - ms puyn, WWWWH -- -- further we get away from him the . t demanded that we always observe the strictest rhythm closer he seems to us. We look over Victorian which portray his innermost life, his s"u, s0 "y g ; |[ ?ie (lctcsu,i all distortion.” And his friends, his pupils, over and beyond the inflated grandeur oi the V.cto^an J ion< he would certainly be rece ved with «*« he accentcd ,ightJ>, just as in con- age, and find in his heart-tearing restlessness the pathos applau9e. “How^beaut, ul that with distinguished people. .

beautiful!” we would say; hut it is not t . w;gh only to indicate, to suggest.’ said Chopin on

the true Chopin.” nrPfipnt-dav interpreta- one occasion, “and leave to my hearers to complete the

• ” 5 STS^tSU ,‘icture. Why .held on, .,„.y. *** - • **-<<*>'

Sa!rfanPacrobalicvirtuo.ily.lKi»a!»oh;t,1y“Chopm'. .up,,!.’ Uia <»y". "»*• •» diMingui.htd

order to find out how Chopin mmscu• f-z— -- f. .leSw0Uld? On what do sudi persons base t etr con

S and^th^Tonoibr taken from to thesis- ^ ^ fancy f t, romanticists. ^

of a masterworic "the first con- ^r.M^c"X Z ^.^4 f

‘o his pupils’ pupils. Thus it was the caseofChopi ( heplajedw- g ititious fault. It was far '*ho was unfortunate in regard to his pupil • he efforts ‘" Cor^ct^ V ^ ^ atlyU„ng which of whom died an earlv death, while the o her we his fundament society people who did not practice music « a c°u d ^mfmacy ^ of the social circle. sa'JLiszt °r musicians who were not capable of rbopin’s n } .. .how himself, far more than before or Rubinstein. Therefore the conceptions of^^op “Chopin cm,Id show namely, an eleg.ac poet, w°rks as presented by the tw0> masters named ^ ^ great public, m h,s

prince. His appearance guggcsicu .. - derful splendor of color but of so fragran, and delicate a texture as to be torn apart by the slightest touch.

His friends could not reprove lum often enough in regard to this reserved character, this too proud hold¬

ing aloof from others. .... , Chopin had no fancy for tlic romanticists, be liked

The end and aim of the study of thorough bass should he the honor of God and the recreation of the mind. Where these are not the moving springs there is no real music, hut a devilish jabbering and 1»rrd- playing.—John Sebastian Bach.

862 THE ETUDE

The Home for Retired Music Teachers An Interesting Description of the New Building Now Being Erected for the

Presser Home for Retired Music Teachers in Germantown,

Philadelphia, Pennsylvania

The Etude has occasionally given short notices of the Presser Home for Retired Music Teachers, now located in Germantown, Philadelphia, Pa. We take pleasure in giving our readers an outline of the origin and purpose of the Home and at the same time present an idea of the building now being erected as it will be when completed.

It is needless to tell our readers that the founder. Mr. Theodore Presser, is also the founder of The Etude and the business which is associated with this magazine. He had long contemplated the idea of es¬ tablishing a home for music teachers. The idea first took definite form in an address made before the Music Teachers’ National Association at the convention held in Chicago in 1893, when the founder stated the need for such a home and advocated its establishment. His own experiences as a music teacher and later as a publisher brought him in contact with thousands of teachers, and their needs were carefully studied. The founder had observed cases of very gifted musicians who had been brought to an unfortunate condi¬ tion through the sweeping away of uhwisely invested savings as well as. those who through devotion to their educational work had failed to make provision for the inevit¬ able wants of old age.

In 1899 the founder of the American home visited Milan, where is located the Casa di Ri- poso (House of Rest) founded by the great Italian composer, Verdi, and became more than ever con¬ vinced of the pressing necessity of a hoqte for music teachers in America- The Verdi Home is open to musicians in all branches of mu¬ sic, and is not confined to music teachers alone. At the time of his visit, the home had 200 inmates and had been opened but a few years.

Upon returning to America, the founder immediately commenced preparations for the present home. He as¬ sumed the entire cost of building, furnishing and main¬ tenance, and in addition has provided for the future existence of the home through an ample endowment in his will. The building, when complete, with grounds and furnishings, will represent an approximate amount of $200,000. The site is sufficiently large to permit the erection of a building double the size of the home now being erected. This building will accommodate seventy-five guests, providing each one with a separate

room. The ajhiosphere of the “institution” has been avoided

in every possible way. Nothing will be left undone to convey to the guests all the comfort, freedom and se¬

curity that the word “retired” suggests. The home is a Home—welcome, cordial, and even luxurious. In a statement made some time since by the founder, the above subject was expressed in the following words:

“Men who have stood high in their profession and won an honored name have too much spirit and delicacy of feeling to accept charity, and I honor them for it. But some recognition of their labors for music they are entitled to, and provision for their old age is no

more than their just due. Those who enter the home will be free and independent. The stigma of depend¬

ency will be left out.”

THE FIRST BUILDING OF 1

was secured at 236 South Third street, Philadelphia, and one month later the Home for Retired Music Teachers bad its actual beginning. This very comfortable dwell¬ ing house was occupied until July 11th, 1911, when the

home was moved to the corner of Jefferson and John¬ son streets in Germantown. Here, in one of the best

lines around the building, and the window f

Walls, partitions and floors of concrete and tile"" the edifice thoroughly modern in fire-proof c

Sunlight and proper ventilation have been amol

vided. Owing to the fact that the streets run l west and southeast, practically every room will r the southern breezes both winter and summer i modious porches on both the front and the bad gether with provision for a future roof garden the outlook especially attractive.

THE ATTRACTIVE INTERIOR.

Entering a vestibule of white marble one notes the halls are wide, even spacious. The finishings all in hard wood, the floors being quartered hard add an air of substantiality difficult to obtain other

The effective arrangement of the first floor n provision for a colonial music room and library ished in white. The dining room is large and ch Here and there cosy fireplaces will be found. Lo<

through the music room surrounded by the porcl may gain a beautiful vista straight from the mail

the etude 863

i of the 1 ne in the r >nd floor ar

: many delightful hours. This 1

of a new home

i the third floor, one separated from the rest o'

house has been devoted to »

THE PERMANENT BUILDING.

As the new building will be completed during 1914 we will consider it in the following as though it were already standing.

Few edifices built for the purpose will compare with the elegant simplicity of the permanent building of the Home for Retired Music Teachers. Wliile the home is located in a delightful suburban section of Germantown, near the site of the former temporary home at Johnson and Jefferson streets, it is conven¬ iently near the railroad and street car lines by means of which the heart 0f Philadelphia may be reached in a comparatively short time.

Germantown, with its constant historical reminders of our American Revolution, is copiously planted with trees, shrubs and flowers. It is an exceptionally healthy section. The home is situated upon a lot many times the size of the building and surrounded with rich foliage.

The building sets back 100 feet from Johnson street. On the main street the building has a frontage of 154 feet, the southern wing extending 90 feet and the northern wing 138 feet. The architectural beauty of the building is scarcely suggested in the engraving presented herewith. It is three stories and basement in height. The exterior is Indiana limestone and gray brick, limestone being employed for the. base columns,

ACTICAL PROVISIONS.

1 comfort mark the arrangement of ctric lights are employed throughout, i has been made for the use of gas in

have a fine reading light. The best

ing, insuring an even temperature all the time, has been installed. The equipment of the kitchen and laundry is thoroughly modem and hygienic. The bathrooms are fin¬ ished in fine white marble and have solid china bath tubs.

The highest type of modern pas¬ senger elevator has been installed for the convenience of the guests.

One unique provision is that of rooms for practice purposes where the guests who so desire may en¬ joy their music study without re¬ striction. m

On the third floor, wing the house has been complete infirmary, for the guests of the home. Here we find a nurse’s room, diet kitchen, a t quate toilet facilities and cvefy thing to lessen suffering and a

to comfort.

ENTRANCE REQUIREMENTS.

An applicant must be at least sixty-five years and shall have followed the profession of a e of music in the United States for twenty-five ; a sole means of livelihood, and must at the making application for admission be incapacity active work of'teaching. An admission fee o charged, and if an inmate must leave for the money will be refunded after deducting lars per week for board during residence at —

Three months’ probation is required from cant, but the management reserves the rig missal at any time if the person fails to keep or proves objectionable to the household gene'

Everything, within reason, is provided for. fort of each member of the family and the so' gifts, either personally or by letter, is f°rf>1

There are a number of applications on t e list, pending the opening of the new Home.

For further particulars, address Secretary, 101 West Johnson Street.

Germantown. Philadelpf

“—sts a “oved over Germany like some frightful cata- A dvsm, leaving in its track poverty, misery and despair. The peaceful art suffered most and the cond' '

Despite this and other cases of poverty and i the family of Bach survived to produce

£& Mwr a msr vsr, ft afti'tsi. ’ ft? 4:

-THE REAL BACH 1750

“Anyone could do as much as I have done if I worked as hard.”

One year later Bach went to Weimar as court organist and Kammerinusikiis. This appointment is generally considered the end of his period of study since hr com¬ menced at once to produce works which were marked with mastery. A period of great creative activity com¬ menced at once and wc arc not surprised that in a

Although, unlike Handel, Bach never ventured very far from home he did make short trip* to Caiscl. Leipsie. and Halle and Carlsbad. Upon one occasion in Dresden

play. When the time for t

blm to pUjr the noUa- 1 j

1717 Bach wa. called to Cbthen by Prince U

vod one in those days, was $300 a year' Bach b

time of

m ,<! whlVh relate* h;.w the Wy «•£>“

three d»F lakcs a generation of a family to regain it? grasp “P°n the best in life after the death-dealing blows ot

and epidemic. The peaceful calling of the Bach family, the healthful surrounding cf Wechmar. Am- sftdt, Erfurt and Eisenach had much to do with th-

£r virility of the Bacffi family, ^'p^^nd

>hia. fc

I know that God has appointed me a a ^ ^ knowledge it with thanks, and hope and be \ . jjjy done my duty and been useful to the w others do likewise.—Haydn.

, Die Wartburg. Bach’s moffier wtjs “ Lammerhirt, the daughter of a furrier. His t, 5 ‘>>e Court and Town musician of Eisenach.

bad'1 Upon the mum in 1730 lie'was shocked to learn that his wife had died and had been buried (or

of Europe. Bach naturally wanted to meet him an it is said that the public was anxious to Have ihri compete after the manner of the lime. Inst althoug Bach made two atirmpts to meet Handel (1719 an

In 1720 Bach attempted to secure the position o organist at the “Jacolfi Kirchc" in Hamtmrg Inn owin to corruption in the church management the posiiio

founded In the Augustine monks in the thi Zy. H became a town acho.4 in 1543.

864

was very strict. The boys were obliged to rise at five in the morning and retire at eight in the evening.

The manner in which Bach received his income at this time was very interesting. His salary was compara¬ tively small, amounting to 100 thalers, but he received in addition free rental, and various perquisites such as 13 thajers and 3 grosschen for wood and lights, contri¬ butions from different foundations or endowment funds, an annual allowance of 16 bushels of corn (wheat?), 2. cords of firelogs,’ and last of all two measures of wine at Easter, Whitsuntide and Christmas, provided through the munificence of the church. In addition, the school fees amounted to something. Twice a week eight of the boys ran around town with collection boxes receiving small donations. In this way Bach’s income averaged some 700 thalers.

BACH’S HAPPY HOME LIFE.

Wlille in Leipsic, Bach had much time for composition. Ignorant laymen continually bothered him with stupid criti¬ cisms so that at one time he felt that he would be obliged to leave the city for which he was doing so much. Bach was obstinate, and it is known that he continually con¬ tended with one of the rectors. His family life, however, was ideal. After the death of his first wife he felt the need of some one to look after his growing family, and falling In love with Anna Magdelina Wllken, daughter of the Court Trumpeter of Weissenfels, married her on the third of December, 1721. She was very musical, a fine singer, and devoted to her famous husband. Naturally their home be¬ came the center of the musical activity of the city. Pupils <-nme to him from great distances, and visiting musicians never failed to call upon him.

BACH’S VISIT TO FREDERICK THE GREAT.

Honors came fast to Bach in his later years. In 1736, the honorary appointment of Hof-Componist was given him by the Elector of Saxony. In 1747 Fred¬ erick the Great informed Bach’s son Emanuel, then a cembalist (equivalent to conductor) of the court orchestra, that his imperial majesty would receive Bach at the Palace in Berlin. Bach accepted, and his visit to Berlin was made an event. He played upon all the pianos and organs at Potsdam much to the delight of the king. He also improvised a six part fugue upon themes selected by himself and after his departure wrote out one of his improvisations from memory and dedicated it to the king.

BACH’S BLINDNESS.

When Bach was 64, his eyes commenced to fail. Overuse since childhood had stolen his vision. An English occulist performed an operation upon him but brought no satisfactory results. It will be remembered that Handel was also afflicted by blindness. In 1750 Bach’s eyesight came back to him for a very few hours after which he was seized with apoplexy and died after a sickness of ten days. On his deathbed he 'dictated a choral, Ver dcinen Thran tret ich hiermit. His death was widely mourned. The happy family broke up shortly thereafter. His wife, despite the apparent suc¬ cess of her sons, was forced to accept alms and was

buried in a pauper’s grave.

BACH AS A PERFORMER.

Enough has been said in the fore¬ going to indicate that Bach had no equal as a performer during bis lifetime. In a day when contests for supremacy were iu order, rival organists let the groat Bach severely alone. His organ performances were Unusual in. that they drew large crowds. The organist familiar with the Bach repertoire realizes how slight has been the real advance in organ music since the time of the great cantor. In fact, many go so far as to insist that there has been no advance at all.

BACH AS A CONDUCTOR.

in Bach’s time playing and con¬ ducting were so closely associated that one cannot think of Bach ns fi conductor In the sense in which one would think of Berlioz or Wagner. It Is known, however, that be was a very strict disciplinarian, discharg¬ ing his performers and singers at once when there were signs of neg¬ lect or other just provocation.

BACH AS A TEACHER.

If Bach ever suffered from lack of pupils he had but to cast around in his own voluminous family for another. Without question Bach’s most celebrated

THE ETUDE

pupils were his own sons, notably Carl Philipp Emanuel Bach. Although little known today, such men as Agricola, Kirnberger, Goldberg, Krebs and Abt Vogler, all of whom considered themselves disciples of Bach, were famed in their time. Bach showed his greatness in his patience. He never considered himself above small things. At first it was his custom to give only exercises in touch, in fingering, and in making the move¬ ment of each finger wholly independent. He was fond of writing pieces embodying the technical difficulty upon which the pupil was working. He also sought to estab¬ lish equality in the proficiency of the hand. Whatever the right hand did the left hand was obliged to do. He was fond of saying, “Anyone who works as hard as I do may do as well as I do.” It is well known that he wrote a kind of instruction book or course for his son. Wilhelm Friedmann Bach, (Clavier Btichlein), which was never published for popular sale. One notable feature of this book is the attention given to ornaments and scale passages and also the fact that an opportunity was afforded for the son to compose and insert some pieces of his own as he went along. Bach’s Inventions were written mainly with an educational object. Bach insisted upon his pupils being equally familiar with all of the keys, rather than with a few. His Forty- eight Preludes and Fugues were written to comprehend all the keys.

BACH’S PERSONALITY AND APPEARANCE.

Altogether, Bach was a very unusual man apart from his great musical talents. His disposition was kindly, yet he could stoutly defend himself in a dispute. He was very pious but could not be called narrow. He loved to travel but rarely ventured very far from his home. He was marvelously industrious. In his fiftieth year he wrote no less than twenty monumental cantatas. He was generous and hospitable, but at the same time economical. He pos¬ sessed many Instruments including five claviers, and enough in the way of violins, ’cellos and other string Instruments to provide for concerted music in his home when the op portunity offered. Bach was a strong, earnest worker, dignified in his bearing and yet courtly in his carriage. His face indicates alertness, a sense of humor, natural vigor and confidence in his technical security.

BACH’S COMPOSITIONS.

A space equal to the entire length of this biography would scarcely be adequate to accommodate a complete catalogue of all of Bach’s works. First in consequence, considered numerically, are the great number of Can¬ tatas, of which there are five complete sets for every Sunday and feast day in the year. In addition there are other cantatas both sacred and secular and even comic. One had to do with the craze for coffee drink¬ ing, which overcame Leipsic in the time of Bach.

The five Passions, including the immortal St. John and St. Matthew, The Christmas Oratorio, the Mass in B Minor, two Magnificats, several fine eight-part motets and many other voice works give some idea of his great contribution to vocal musical art.

Of his remarkable works for the organ the most noted are his great fugues, for all time the models of this style of composition. Six Concertos and two over¬ tures comprise his orchestral works. It seems well nigh useless to touch upon his compositions for the

1 cembalo, spinet, clavichord, violin, ’cello -t fugues, concertos, suites, toccatas, prelude’s f Tlle partitas, sonatas are a treasure mine which ?nUsias- cases is rarely visited because of the difficult* JT' compositions and because the style in which th ' written has in a measure lost favor with man^ ** sicians who clamor for nothing but Schumann rl m.U' Mendelssohn and Liszt. ’ u‘°»i

BACH’S VERSATILITY.

Composer, conductor, teacher, organist, pianist m, , musical scientist, Bach was one of the most musicians. When he felt the need for an In-tl, of 81 set about and invented it. He was very much tS W In the construction of the organ and In the ,nX?1 processes through which music is printed. n , establishing the equal tempered system of fami.fr 2.1 instruments was monumental. 8 8“M

Bach’s first wife was the mother of seven of his children, three of whom. Wilhelm Friedmann, Karl Philipp Emanuel and Johann Gottfried Bernhard, be- I came musicians. Bach’s second wife was the mother of I thirteen of his children, six of whom were sons. Of I these Johann Christoph Friedrich and Johann Christian I also became known in the musical world. Wilhelm | Friedmann was described as the greatest organist in I Germany after his father. For a time he lived in Halle I and was known as the “Halle Bach." He was improvi¬ dent and died a drunkard in Berlin. Karl Philipp i Emanuel, known as the “Berlin” Bach, was conceded to he the greatest theorist of his time and was a composer of very great ability. His only teacher in music was j his great father. Johann Gottfried Bernhard Bach was I the organist at Muhlhausen for some time but did not | equal his brothers in his musical ability. Johann Chris- j toph Friedrich, known as the “Buckeburger” Bach, was I Chamber musician to Count von Lippe of Buckeburg. I Had it not have been for the great talents of Karl I Emanuel he might have ranked as the greatest of j Bach’s sons. Johann Christian, known as the “Milan- j ese” Bach, was for a long time organist of the Cathe¬ dral in Milan. Later he went to London, where he died. He was a prolific composer with tendencies leading him to follow the more or less frivolous Italian style. All of Bach’s eight daughters died young except three. None showed pronounced musical talent. All of Bach’s famous sons were given a broad general education, some spending years at the University of Leipsic.

A BACH PROGRAM.

1. Fugue in C Minor (Piano) .. 2. Mu Heart Ever Faithful (Medium Voice). :i. Garotte and liourric in <i (Piano)...... 4. l.uure in G (Third Violoncello Suite). 5. Little Prelude in C Minor (Plano).«f 0. Gavotte in G Minor .. - j 7. Solfeggietto, by Iv. P. E. ..• * 8. Little Prelude in ..fM

Farabande in E Minor....*•* | Ave-Maria written by Gounod ns an obbligato over

the first Prelude from the Wohl-Tanperirtc Clavier. ,

Many excellent selections may be found in toe " ■ ''nllrr.fi,,,, r.f Fnrr.riin I’irreu for tllC

10.

MORNING PRAYERS IN THE BACH FAMILY.

QUESTIONS ABOUT BACH

1. State the condition of Ger¬ many which preceded ”aClS birth. H

2. Give a general idea of remarkable achievements of Bach family.

3. Who were Bach’s teacher- 4. What appointments did

hold prior to going to Leips'c- 5. What was theThomasscW 6. Describe Bach’s home W 7. Tell of Bach’s famous' 1

to Frederick the Great. 8. Give an account of in¬

ability as a composer—a tea

a conductor. nc(, 9. Describe Bach’s apP#”...

10. Who were Bach's mow

mous sons?

BOOKS ABOUT BACH- ^

Naturally an g books have been written a ^>1 but of these the be**.tori' ,

r&srstcafefe Sir Hubert Parry’s Saf',JooSf.W,

gv*r»«*«s8r»- the most interesting.

\mmm

Mendelssohn’s Rondo Capriccioso An Analytical Piano Lesson

By the Eminent English Pianist

KATHARINE GOODSON

WHILE there has been some delay in my being able to

find the necessary time to write this analytical les¬

son on Mendelssohn’s famous work, certainly nothing

could he more appropriate than the doing of it up here in

the so-called Hohbuhl Pavilion at Interlaken, where, before my

eyes, is a tablet inscribed to the memory of Mendelssohn, enu¬

merating his several stays in this exquisite spot between the

years 1832 and 1847, the last being only shortly before his death

in that year.

To be born with a silver spoon in one’s mouth, as the say¬

ing is, has not been the fortunate lot of many of the composers

whose names are as familiar in this

twentieth century as is that of this

famous musician. In using the word

“fortunate,” it is perhaps doubtful if

the affluence, comfort, and generally

peaceful environment which surrounded

Mendelssohn from the day of his birth,

were altogether the best for the de¬

velopment of those deeper emotions of

which it was hardly his lot to plumb

the depths. It came far more naturally

to him—especially in the earlier years

of a remarkably short life—to give ex¬

pression to the lighter and happier side

of things, skirting the hill-tops, or rest¬

ing in the valleys, but seldom if ever

descending into the abyss. Heavy

care and poignant suffering were al¬

most unknown quantities in Mendels¬

sohn’s life, if we except certain specific

events such as the death of his beloved

sister a vear or two only before his

own end.’ The remarkable talent which

he showed at a very early age could

hardly have been fostered with greater

care or judgment than that exercised by

his parents. Mendelssohn was a very

hard worker right up to the time of ■ ]y due to

his last illness, and this was. no do . discjpHnC of his

the strictness of his early training am lacked by die

home life as a lad. Added to a w4eJe a great

incessant interest of his pttjgs. it js hardly surpris- many people of note were constant .. d linder such

i„g ,)», .he ,»y should have deeded gd* ,

a happy regime, also very W7 i{ not 0f his whole

brightness were the keynotes of - Wore his death, that

life" for it was not until 1841, ^.^cStection with

the worries and troubles of his . ^er]jn—commenced,

his Directorship of the Academy o - .. ap the earlier

■* - " riS’in'TvS

somewhat formal in these modem limes, nothing can hinder the

effect of its healthiness, good spirits, and spontaneity. In these

early years many of the compositions were for the piano, and

the work under consideration was probably written about 1R24.

though the original manuscript only liears the date of the month.

At any rate, the composer considered it important enough to

give it an opus number all to itself.

MEANING AND CHARACTER OF THE RONDO.

The word Rondo explains itself, for it is simply the Italian

word meaning a Round; the musical signification being a piece

in which the principal subject returns

again and again after one. two. or

more contrasted episodes. In the earli¬

est days of the adoption of the Rondo

form in instrumental music, the theme

of the Rondo often returned—after

the intervening episodes—almost exact¬

ly in its original guise (as. for exam¬

ple. in several of Haydn’s Quartets

and Symphonies), but as the form de-

vclopcd, composers enlarged their

scheme, until, at the present day. the

theme will lie found, nearly always, to

return in another garb: the more mod¬

ern treatment certainly makes for much

increased interest. As we shall shortly

see. Mendelssohn adopted in this early

piece a very simple form of treatment,

which is only what might be expected

from a lad of fifteen or sixteen, who

was reiving on the models of his for¬

bears. THE GENERAL STRUCTURE

The Rondo is prefaced liv a short

and melodious Introduction (Andante)

of only twenty-six bars, in K major:

this, while being a complete little piece

in it«clf—except that the final cadence

only comes with the first chord of the Rondo itself—acts as an

effective foil to the spirited brightness of the following move¬

ment. into which indeed it leads very naturally. The opening three bars, while serving to indicate the rhythm

of the accompaniment to the melody ai A, should nevertheless

be plaved with color, special attention being giver.to _ — — in bar .1. and a slight Calatido being

UCDELSSOSN BARTHOLPY.

The letters A. i form

compositions should be conceive period that this Rondo

brightness, and it was during 11S . Mendelssohn was

Capriccioso was written. It was ,a . • waS au Verv aptly iflus- full of high spirits and fun, and j ^ whkh he wrote

•rated in the many very suc“_f” in the early 1! mmor

in the Scherzo font;, front S£7h, <*,«, Op. ». Quartet to that brilliant examp ^ for a youth of six- ai( <llv,...

in 1825. surely a marvelous acc ^ f compose* who have d nidodiou5. not hurried: at (2), on the repctit teen. There certainly have been very wWch shows such ne or - . mnr* nreswire sb..-

written a work at sixteen yea™° when performed toda>, cn-

masterly treatment and vvhic , roethod of it may >oun

joys so much popularity; f°r ev ”

mdde on the fourth l»eat of this bar.

should lie observed as marking the thre

short introduction. .■ ... . , A. The commencement of the melodious cight-t«ir theme,

which is composed of two very simple four-bar sections. I» The commencement of the ten barn of episodical matter

containing a few effects of modulation which give* some wel¬

come varictv to the scheme. , , . _ C Tlie return to the subject-matter in the form of a Co¬

detta on a dominant pedal-imint. Treating these sections in detail, the theme at A. while P-

should nevertheless lie sung with rather fuller tone than the

sustained accompaniment in the left hand, like the Mngjng of an

oboe above an accompaniment of strings. Hie turn (l) slioiih

be broaa ana mawium. w ■ ■.. . ., ,|,c first three notv. of the thane, n IM. more pro,,.,re .to M

i _:..«n tn avoid monotonv of color, and the cwsecnao i ::

following bar should be full, without rising to an f, on the G

sharp; the modulation here (3) through the relative minor to

the dominant of the key (5) should here be noticed as being a

very melodious example of a very simple thing.

Coming to B there is a slightly agitato feeling in the new figure, which, like (a)

which follows

at (6). may f

<h a v e grown £

— quite naturally

from (4). ( See cut b.) This should be played with a little more movement, the first

real / coming on the chord of C major. At (6), the figure

quoted above appears and remains an important feature almost

to the end of the end Introduction.

In this passage, the pedal re¬

quires careful treatment: it should

be raised just before striking the

first octave E in the left hand, and

put down again immediately after the

second octave E has been struck; in

this manner a clear staccato for the

first octave is obtained, as is necessary.

The simple modulations commencing at

B should be carefully studied and

m

memorized, so as to be able to hear

them without actually playing them.

A climax is reached at the ff, which is

followed immediately by (6), similarly

treated as before, but with a slight

harmonic difference so as to come to

the dominant pedal-point on the six-

four chord at C. Here we have the re¬

turn of the subject in a fragmentary

form, similarly harmonized as at the

beginning. It may be noticed that

whereas at A the theme commenced at

the third beat of the bar, at C it com¬

mences on the first beat; one cannot

but feel instinctively that the latter is

more natural, and that Mendelssohn, in

this case, as in several others, only be¬

gan the melody on the third beat at

A for the somewhat academic and ar¬

tificial reason of wanting to make his

cadence fat B) come on the first beat

of the bar. In the last half-bar

of the Introduction, at (7). com¬

mencing with the note A the notes

should be slightly separated, but

not played staccato. The pause

on the final note should not be

made longer than sufficient to lead

naturally into the Rondo.

RONDO.

The construction of this movement i, „uc

that the following sections will make it quite clear: D. . First Subject.

E. First Episode in relative major.

F. Bridge passage, leading to

G. Re-entry of First Subject.

H. Return of first episode curtailed, in ionic major.

I. Ornamental Episode in tonic major.

J Retu.rn t0 bridge-passage in tonic major, leading again to first subject in original key.

K. Short Coda of brilliant character.

It will at once be seen that the first subject of eight bars

is simply four bars repeated, ending on the dominant, bars nine

and ten are merely a repetition of bars seven and eight, one tone

lower, and the eleventh bar is again the same as seven and nine

only again one tone lower; this should be

carefully noted when memorizing, as it is only E3

a transposition of actual notes. The figure ™

mi

MISS GOODSON 1

extremely simple.

18) is persistently carried on giving continuity to the whole

section ; a return is made to die subject, which is repeated note

for note, until four bars before E where a slight modification

is made to introduce the first episode in G major. Up to this

point, the touch should be as bright and sparkling as possible what the Germans call “spitzig”. /. <\. pointed, and great care

should be taken that the constantly recurring figure (8) should be very clear in the left hand in imitation of the right. The left

hand, at (9). should be as staccato as possible, and the whole

should be played with extremely little pedal.

Coming to E. the first episode, we have a very simple eight-

liar melody, with harmony equally simple, followed by a four-

bar extension with passing modulations into A minor and E

minor, returning at (11) to the melody in the left hand, with

decorative arpeggio accompaniment; care should be taken here

that the rapid arpeggio playing in the right hand does not dis¬

turb the smoothness of the Cantilena in the left hand. This is

a regular eight-bar repetition of the melody and is succeeded at

112) by an ornamental passage which is a continuation of the

figure in the last half of the previous bar. A brilliant octave

passage ( arm octaves) ff brings us to F. This is a bridge pas¬

sage consisting of the prominent figure of the first three notes

of the first theme accompanying a new subject of a fragmentary

character, and leading in ten bars to G, the re-entry of the sub¬

ject, a slight curtailment of which brings us to the transposition'

in the tonic major of the passage at

(9). At (13), however, appears a

slight change, retaining always the

prominent figure so as

to lead directly to H. (SSEStsEE:

i. c.. the return, in £—EBzjiz:

the tonic major, to

the first Episode which now appears in

an altered and shortened form, passing

to an entirely new and decorative

episode in the same key I. This Epi¬

sode is musically perhaps the least in¬

teresting portion of this bright work,

and the player should give careful at¬

tention to the alternating / and /> at

each alternate two bars, as also to the

PP at (14) with the succeeding grad¬

ual crescendo to /. for neglect of these

can only produce monotony of effect.

From the f. the following passage to

poco rit.. requires the utmost brilliance.

A repetition follows pp leggiero, and

this marking should be given special at¬

tention. in order to create variety

from the previous rendering of this

purely ornamental material at I. Apart

from its musical value, tin's whole passage (from T to T) presents

a valuable study to the student in technique and variety of tone-

color. the same style of phrase being played first f and then p. and requiring the art of listening by the performer to avoid

monotony to the hearer. At T the bridge-passage which ap¬

peared at F in the relative major will now be readily recognized

in the tonic major, leading to the final repetition of the first sub¬

ject in its original key of G minor, not. however, quite in its

original form, though strictly adhering to the material. After

sixteen bars comes a full close in E minor, this close being en¬

forced, so to speak, bv a four-bars continuation, on the tonic

chord, of the opening figure. The last two bars, poco rit.. lead

to Is., a short and brilliant Coda, a somewhat ordinary broken

double-octave passage, having no connection thematically with

the piece, but serving at least to bring it to an effective con¬

clusion. which, after all. is an important matter, and when it is

accomplished, the means—if somewhat formal, as in this case—

may be said to justify the end.

HER LONDON STUDIO.

CAPRICCIOSO Andante M. M

F. MENDELSSOHN, Op. 14

sos/ett.

Urntiysimo

leggiero

868 THE ETUDE

a 4 3

the etude a tempo

jj con anima

Ifggiert

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THE ETUDE THE ETU D E

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sempre sin' alfine

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Moderato m.m. J = 108 POLKA REVERIE

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f if-

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C°Pyright 1913 by Theo. Presser Co.

THE ETUDE 8*5 THE etude

878

Tempo di Marcia M.M.J =

THE ETUDE

FIRST REGIMENT MARCH SECONDO

K J- KELLY

the etude

first regiment march Tempo di Marcia m.mJ^o . PRIMO

F.J. KELLY

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* 880 THE ETUDE

VALSE ESPAGNOLE Allegretto m.m.J=126 SECONDO G Lazarus

the etude

VALSE ESPAGNOLE

1. '1 ' ■ '* 1-

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Allegretto M. M.J = m 4

G. LAZARUS

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882 THE ETUDE

CHIMES AT CHRISTMAS MEDITATION

Andante moderato m.m.J = 96 M. GREENWALD

. 8 1- M5| _ _ , a : — _ — — — a tempo

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* i

Copyright 1913 by Theo. Presser Co. British Copyright

Secure*1

the etude

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g*gg

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PLAYING WITH KITTY WALTZ PIERRE RENARD

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British Copyright S«c«r-4

CoPyright 1913 by Theo. Presser (

884 THE ETUDE

AT PRAYER SONG WITHOUT WORDS

88S

888 the etude THE ETUDE

BEDOUIN LOVE SONG BAYARD TAYLOR

Recitando

C.WHITNEY COOMBS

3 < _ p

From the des - ert I come to thee On a stall - ion shod with fire. And the

H b; ^

z.

• —9

'

J7* J

winds, the winds are left be-hind In the speed of my de-sire.

pAndante

Un - der thy win - dow, un-der thy win - dow I stand _

pin agitato Z

And the mid - night hears my cry, the mid - night hears my cry Un - der thy

p ^

1^% r~f!^ -J J>iT==Ti hO win - dow,

Q ft + m

un - der thy win - dow I stand _ And the mid-night hears my cry, — the mid-

feu"

r -— ftz^rrrr —H-J-—--J Copyright transferred 1913 to Theo.Presser Co.

§ * M night hears my cry. , love

" 1 [ - — .that can nev

m

accelerando eon passione

• y *

^ _>-*■' /»nn dlC.

We

Andante con espress. 3ng=Sfeagrrid old,-And the lee™ —- »' **“

*

F0±>

Arr.by GEO E.\...

MANUAL<

THE ETUDE

MISERERE from“IL TROVATORE”

G. VERdi

PEDAL

lymicS’

2 1.4 3.3 2 1, 4 , 3

mt.

Andante assai sostenuto M.M.#=54^Sw.l6'& Sw. Reeds 8'

sotto voce

rar

- ^i ^ »lilt oP

t} , t nhiu ^l.r iT rfJ'- J

pp

pp

Copyright 1913 by Theo. Presser Co.

the etude

•i . » 1 .?

Sw. Comopian,8'& 4'and Trem.

Ch. Dul.&F1.4', (Arpa;

m—^

ill

str%

892

Edited by E E. Hahn Lento M.M. J=48

G String

Violin

THE ETUDE

AIR FOR THE'G STRING JOHANN SEBASTIAN ]

PIANO < as*

'll

m

.HI q _ i a

cresc. ^ v- 'l - - |« TZir-i

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. n i I i4l h 1 3 a* . * V ^ a tempo iry^ ”gjl£^3

-|r2"“

poco rit. -

the etude

bridal chorus Arr.by F. P. Atherton from “LOHENGRIN”

Moderato con moto m m.J=7»

PIANO •

R. WAGNER

ill II .IT :=F^=: =M= —:hH - =F=- ri ;Tf77f

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K P p J 7 J- 1J 4h J j ■ ^

S94 THE ETUDE

INDIAN SUITE LOVE SONG (Sioux)

Largo M.M. J r 63 Harmonized by

THURLOW UEURANCE

Cs

INTERMEZZO I 7' rugfj

WAR DANCE SONG

^~J)

V T dolce.

4f-

/j - ./“ .

-it- .1 -1 I- H-

>

1 : ill.—. it '41 J J J—

> > JL _

. a.. _ .

Copyright 1913 by Theo. Presser Co. 7

British Copyright »

chiming Well Known Composers j

of To-day

No. 1- "Love Song” (Sioux).

This song was sung for me by Wm. Sylvester, a [ Gros Ventres Indian, from Ft. Berthold, Montana. It

was composed by a Sioux who was in love with tire same Indian maiden. The text was in the Sioux dia-

I led, and translated means. “I Want You All the Day.” This should he played slowly and in a very plaintive

! manner. It is one of the Indian songs that recorded ! with perfect intervals. The singer is an educated

Indian, a fair musician, with a splendid voice. The I phonograph recorded this song in F minor. I trans¬

posed it to E minor so as to be in accord with the other numbers in this suite.

No. 2. “Love Song” (Gros Ventres).

| Another song by Wm. Sylvester, his own love song. He used the Sioux dialect because be did not wish Ins own tribal friends to recognize the song, i. e., the phonographic record, should it ever be played in pub¬ lic. When I recorded this I promised him that it would never be played in the presence of his friends. In the left hand the octaves should suggest the drums

The triplets in the treble being charac¬ teristic of the Indian yell, are inserted for effect only, as the love song lias no drum or other grotesque mannerisms associated with it. Play in moderate tempo, counting six in the measure.

No. 3. “Tobacco Dance Song” (Crow).

The tobacco dance is a religious ceremony of the i Crow Indians. Tobacco is burned as an incense during

the prayers and dancing. Count two in the measure, and play the octaves to suggest the drums, not ou<

[ or boisterous. This song was recorded on *lic rc,'s reservation at the Reno Lodge, just below the Fuse battlefield during the Indian dances at Christmas ime.

No. 4. “War Dance Song”

No. 4 is a war dance song often heard. Its origin is unknown to me. as I have heard it many t,mes *" different tribes. The sixteenth notes represent tnc vibratory tones of the singer. He sings v\ ra o a portamento and accents the first of each measure ^ voice. The drums heat eighths in fast tempo. L members of the tribe give a yell of some sigm on the first eighth of each measure.

Note.—The intermezzo is not Indian and is oni> tended to link together the several numbers oi suite. I restrained from too much elaboration.

RONDO CAPRIOCIOSO—F. MENDELSSOHN.

. An able analysis of this standard repertoire .!>•«£

should be studied by every piano studertt organi,„ ..... -- advanced to cope with its technical demand.. rangement taken should be borne in mind that pieces of this/ surprisingly gooo • ••••—

J wd delicate type require a technical mastery registration must « - J 'vhat beyond the grade in which they "’oul in THE VIOLIN ' I narily bc classified. Some catalogs give 1 best I J-rade VI. but before taking it up tt w° Gra(k. I for the student to be well on in the Se ^ j technical work and to have developed a bgi I touch.

MARCHE HONGROISE-H. KOWALSKI,

j . Marche Hongroise, also known hy tlie t‘t e « Pcsth. is a standard concert or exhibition P£ "f lh« best of its type. It gains its “tie ' Jca, stvk

J a«er of its first theme and its general rlij celebrate£| j fn both these respects it is similar'tosplendid

Himbanan Rakoczv Match. It will « , . this J stl,dy in octave work and chords. We, would class

I "nniber in Grade VII.

the etude

CHIMES AT CHRISTMAS—M. GREEN WALD. 1 his new drawing-room piece by a we" 1.—

introduces the popular device of imiiai of bells. The method employed may first but the notes given are merely a reproduce the series of over-tones as thrown off by the themselves. In the bell imitations each chord shou slightly emphasized and the pedal used as marked, advanced Third Grade piece.

DANSE PITTORESQUE-G. EGGEL1NG. Danse Pittorcsquc is a pleasing bit of modem

acteristic writing. It is in the style of a pie< ballet music and it should be rendered with strong dynamic contrasts and in the orchestral style. This will make a good Fourth Grade recital piece.

Under the willow's—Charles lixdsay. Under the Willows is a graceful drawing-room

piece of the reverie type. It is an exceedingly well written example of this Styh • I j; i, particularly effective in the middle section. The entire piece is rather easy to plav and should l*e classed in Grade III.

ROCKY BROOKLET-W. T. WETTACR This is a very useful teaching piece which at the

same time will prove pleasing to the student. It af¬ fords particularly good practice in some of the more familiar arpeggio work, also good chord practice. This number may be used well along in Third Grade work.

COOING DOVES-H. W. PETRIE. This is a graceful drawing room piece with considera¬

ble variety in thematic material. For teaching pur¬ poses this composition will prove valuable as a study in style and expression and also in certain conventional technical features. It lies in about the Third Grade.

RAINBOW CHASE-SADYE SEWELL This is an easy teaching piece winch should al‘"

prove attractive as a recital numbe sages in sixtxeenth notes will afford valuable fin practice. Pieces of this type must be played with most automatic precision. Rainbow Chase lies mi<1\ between Grades II and III.

AT PRAYER-F. G. RATHBL'N. A Third Grade piece of quiet dew •

should be played in the organ style. In fact, this pi would make a very good organ number.

THE DREAM DANCE—G. 1. SPU'LDING Mr. Spaulding excels in First Grade teaching pm

especially those which have accompanying nxis attractive number is from one.nf m« latest vis pieces, entitled Our Juvenile Friends.

THE FOUR-HAND PIECES. Valse Esptgnait by Goatav Laganis it an g

duet number which does not come in y • ' >’ ■ ^ > rhythms in the Spanish sty e arc ai*a<■ and Mr. Lazarus has succeeded in .- ■ _

brilliant and entertains

894 THE ETUDE

INDIAN SUITE LOVE SONG (Sioux)

Largo M.M. J= 63

INTERMEZZO L" Moderato M.M.J = 72

*rtr

Harmonized by

THURLOW LIEURANCE

On

LOVE SONG (Gros Ventres) Andante moderato M.M. J-=54

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INDIAN SUITE.

Descriptive Notes.

BY THURLOW LIEURANCE.

No. 1. “Love Song” (Sioux).

This song was sung for me by Wm. Sylvester, a Gros Ventres Indian, from Ft. Berthold, Montana. It was composed by a Sioux who was in love with the same Indian maiden. The text was in the Sioux dia¬ lect, and translated means. “I Want You All the Day.” This should be played slowly and in a very plaintive manner. It is one of the Indian songs that recorded with perfect intervals. The singer is an educated Indian, a fair musician, with a splendid voice. The phonograph recorded this song in F minor. I trans¬ posed it to E minor so as to be in accord with the other numbers in this suite.

No. 2. "Love Song" (Gros Ventres).

Another song by Wm. Sylvester, his own love song. He used the Sioux dialect because he did not wish his own tribal friends to recognize the song, i. e., the phonographic record, should it ever be played in pub¬ lic.- When I recorded this I promised him that it would never be played in the presence of his friends. In the left hand the octaves should suggest the drums or tom toms. The triplets in the treble being charac¬ teristic of the Indian yell, are inserted for effect only, as the love song lias no drum or other grotesque mannerisms associated with it. Play in moderate tempo, counting six in the measure.

No. 3. “Tobacco Dance Song” (Crow).

The tobacco dance is a religious ceremony of the Crow Indians. Tobacco is burned as an incense during the pravers and dancing. Count two in the measure, and play the octaves to suggest the drums, not loud nr boisterous. This song was recorded on the Crow reservation at the Reno Lodge, just below the Custer battlefield during the Indian dances at Christmas time,

No. 4. “War Dance Song”

No. 4 is a war dance song often heard. Its origin is unknown to me, as I have heard it many times in different tribes. The sixteenth notes represent the vibratory tones of the singer. He sings vibrato am portamento and accents the first of each measure wi voice. The drums beat eighths in fast tempo. _ members of the tribe give a yell of some sigm on the first eighth of each measure.

Note.—The intermezzo is not Indian and is oni> i - tended to link together the several numbers oi suite, I restrained from too much elaboration.

RONDO C\rRICC!OSO— F. MENDELSSOHN.

An able analysis of this standard repertoire piece, V Madame Katharine Goodson. will be found n an, other department of this issue. Rondo Cap ‘ should be studied l.v every piano student sufficient^ advanced to cope with its technical demands. 1 should be borne in mind that pieces of e. and delicate type require a technical mastery *hat beyond the grade in which they Wily be classified. Some catalogs give IW ■rade VI. but before taking it up it “.jj

fnr the student to be well on in the Seventh Grade technical work and to have developed a light a touch.

marche hongroise-h. kowalski. jrc he Hnngroise. also known by the ti one

is a standard concert or exhib.twn Ipe v,._

)e best of its ty pe. It gains its till* fr . ,tyle. ■ of its first theme and its ^neral rh.' celebrated ipth these respects it is similar to spjendid «anan Rakoczy March. It w*) “ ]d cla5S this y in octave work and chords, yy e w ber in Grade VII.

the etude

CHmiS AT CHRISTMAS—M. GREEWVALD.

in,raWlng;r°0m Picce b-v a well-known writer, l“CesTf P°Puu,ar ^vice of imitating the chiming

fi sJ i i mCth°d empLyed may seem dissonant a. first but the notes given are merely a reproduction of

L 7" °f, ov,er-tones as thrown off by the hells themselves. In the bell imitations each chord should l,c slightly emphasized and the pedal used as marked. An advanced Third Grade piece.

DANSE P1TTORESQUE—G. EGGKLING Danse Pitloresquc is a pleasing bit of modern char¬

acteristic writing. It is in the style of a piece of ( ballet music and it should be rendered with strong dynamic contrasts and in the orchestral style. Tin- ' will make a good Fourth Grade recital piece.

UNDER THE WILLOWS—CHARLES LINDSAY I Lndcr the Willows is a graceful drawing-room I

piece of the reverie type. It is an exceedingly well | written example of this style of composition and it is < particularly effective in the middle section. The entire I piece is rather easy to plav and should I* classed in Grade HI.

ROCKY BROOKLET-W. T. WETTACH This is a very useful teaching piece which at the

same time will prove pleasing to the student. It af- | fords particularly good practice in some of the more | familiar arpeggio work, also good chord practice. This number may be used well along in Third Grade work. I

COOING DOVES-H. W. PETRIE. This is a graceful drawing room piece with considera- I

ble variety in thematic material. For teaching pur¬ poses this composition will prove valuable as a study in style and expression and also in certain conventional technical features. It lies in about the Third Grade.

RAINBOW CHASE-SADYE SEWELL This is an easy teaching piece which should also

prove attractive as a recital number. The running pas¬ sages in sixtxeenth notes will afford valuable finger practice. Pieces of this type must be played with al¬ most automatic precision. Rainbow Chase lies midway between Grades II and 111.

AT PRAYER-E. G. RATHBI N. A Third Grade piece of quiet devotional type which

should be played in the organ style In fact, this piece would make a very good organ number.

THE DREAM DANCE—G. L. SPAULDING Mr. Spaulding excels in First Grade teaching V

especially those which have accompanying " *>*• This attractive number is from one of hi< latest sets "f pieces, entitled Our Juvenile Friends.

. THE FOUR-HAND PIECES. false Espagnole by Gustav Icarus i' an origin.^

duet number which does not come m 1 "r" • / rhythms in the Spanish style are alwaw a" and Mr. Lazarus has succeeded m constructing, brilliant and entertaining composition m « ^ style is similar to that employed bv .MOMt-wxi, famous Spanish Dances. .

The First Regiment March by i 1 - j r ing military number which has proven The present four-hand arrangemcn , thoroughly effective, although not « Marches of this type in due, m arc .. .nil ^ ^

variety of public purposes as w«u a

tainment. . A.mi-ivr MISERERE (PIPE ORGAN-.-IKRU-« ION ;

In spite of the long tmpulaniy J'«\u<crrr, tore and of its finest dramatis num * this latter has never before.■ « . , ,.. arranged for Pipe Organ, Ifr Wl.itinc ha- a demand for such a irau.cn mMncr done his work m his us ' w a))|| ar- organists will_ here ■ h scorr |, make a rangement taken direct ^ ^ ^ „K.

surprisingly good J ^ with cart, registration must

the violin numbers^ ^

The • ('rJ.,>rfor the violin. As ils ti,,c : 11 '

usually -it^^raccu^nwd difficult ,0 accomplish rt* ^ (hf vin1in. C-nfiuow playing in the vano si^, ^ring ^ves to the mclod' a the entire pm<* , can U acquired in no otn- certain sombre ^ ^ngemen, is the well-known one

DyWahelmj. but ii Chorus from Lohen-

ThV,r3 5 Z artII tor wv plav but eneerne • cellent onc.^

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Well Known Composers ! of To-day

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,,,rre IS’zC vahr-.i f«.r

g or a« a children's song

PLAYING WITH KIT

896 THE ETUDE

The Teachers’ Round Table Conducted by Ni J. COREY

For many years The Etide has earnestly supported this interesting department because we know that there are times when the average teacher lfnds it very necessary to turn to some reliable and experienced authority for help upon im¬ portant problems. This department is designed to help the teacher upon questions pertaining to "How to Teacli.” "What to Teach," etc., and not technical problems pertaining to musical theory, history, etc., all of which properly belong to the Question* and Answers department. Kindly observe this distinction. We cannot notice inquiries that are unaccom¬ panied with the full name and address of the sender. This department is open to all readers without charge of any kind.

SEXTOLETS.

- e groups in Mozart's Fantnsie, So. 2 in C minor, to lie played as sextolets? Similarly In MacDowell’s Op. 31, So. 2. The contest is not always a safe guide.” C. L.

Only that you thoroughly understand notation. Whether a sextolct may be divided by two or three is puzzling to many students at first. Lest there be any of our readers who do not understand them, they may be printed as follows:

No. I.

The first is divided into three parts, and its equiva¬ lent to a triplet of eighth notes; the second is divided into two parts and is equivalent to two eighth notes. Even though the context may not always be a safe guide, it is the only one you rriay have. To quote the first measure of the passage from Mozart you mention:

You will note that the first group might be ambigu¬ ous because of the six notes against one eighth note. In the second, however, the bass starts out with a triplet, which would make a natural division in the right hand to correspond with it, and it is at once followed by four notes in the bass against three in the right hand. The whole group, however, is played with such speed that the bass amounts to an upward rush in which no rhythmical division can be discerned. The third beat of the measure might cause some am¬ biguity, hut it is at once settled by the fourth beat in which there is plainly a division of one note in the bass against triplets In the treble. If you will fol¬ low along through the remainder of the passage, you will find that the entire spirit of it is fully in accord with the figuring of this first measure.

In the MacDowell piece there is no question. The division is settled by the time signature at the be¬ ginning. The first measure is as follows:

As written, it looks to the eye as if there were four triplets in the measure. This notation, however, only indicates the manner of playing, the division be¬ tween the two hands, the right hand taking the first group and the left hand the second. The rhythmical division is three times two just as if played by one hand. Your time signature is 6-8 to the measure.

which makes six beats with two sixteenth notes on each beat. If you played triplets, you would only count four to the measure. In this piece there is no de¬ termining factor necessary except arithmetic.

A DIFFICULT QUESTION. “1. As I have been playing eight years and am

considered a good player I should like to know what books and pieces I should be using}

‘‘2. I am an advanced pupil but am hindered by a hand so small I can scarcely reach an octave. Is there any way of remedying this?" F. E. W.

1. It is impossible to answer your first question as no practical data is furnished. If you have been work¬ ing and practicing diligently and intelligently under proper guidance for eight years you should be playing Bach, Beethoven, Liszt, Schumann, Debussy, Raval, Chopin and others of the greatest composers, and their most difficult compositions at that.

2. Some teachers increase the span of their pupils hands by having them wear corks between the fingers for an hour or so daily. Use corks that stretch the fingers slightly, but do not wear them too long at a time so as to cause the fingers to feel crippled. It may be that you are naturally small in stature and therefore your hand is as large as Nature ever in¬ tended it should be. If so you may be obliged to get along with it as it is. The exercises to remedy this difficulty given in Mastering the Scales and Arpeggios ave been found useful in practical teaching.

TIRED BONES. ”1. What should be done with a pupil who, after

practicing a short time, feels tired and sore in the bones on either side of the wrist? The pupil, I am satisfied, holds his wrist very loosely, and hand position is correct in accordance with the Les- chetizky method. After longer practice the cramp extends to the arms.

2. Could a person, now seventeen, who began practice on the piano at the age of thirteen, acquire sufficient technique to become a concert performer of note? He is now able to play Men¬ delssohn's Concerto in D Minor. Will you please mention a few pianists of note who began their study at a mature age?”—G. S.

1. If, as you maintain, your pupil plays with hands in an absolutely free and correct position, and correct action, I should say that he was more in need of advice from an expert surgeon, especially if the fatigue is really in the bones. You would better examine closely and determine whether or not the fatigue is not muscu¬ lar or nervous. When the nerves are affected pain re¬ sults from the slightest effort, and is often severe. The fact that the pain seems to be in the bones make it likely that the affection is one of the nerves. In regard to this you would better consult a specialist.

2. I know no reason why a person of seventeen, who has been practicing since the age of thirteen and who is willing to devote himself with whole-souled energy to the cultivation of the art of piano playing for an in¬ definite number of years, should not be able to acquire note. Of course it is impossible to predicate the amount of musical temperament your pupil may show, not knowing anything as to his present ability along interpretative lines. If he has been playing since the age of thirteen, however, his hands and fingers should be in a supple condition. Even though his progress has not been so great as that of many who have been working during the same years, yet if his hands are in pliable condition, and he can now devote six hours daily to his music. I see no reason why he should not make very rapid advancement. The fame that he may acquire will be largely a matter of individual temperament, and the shrewdness he manifests in the management of his affairs. To-day something is nec¬ essary besides the ability to sing or play. This ability has become a commercial product, and must be in the world’s markets where such things are disposed of, and

handled with discernment and discretion. As to th virtuoso pianists who began their study at maturity i am unable to name any, as all of those 1 have in mi' I began very early. Possibly some of our readers can give us some examples that will answer your question

ACCOMPANYING MALE VOICES. “1. lu music written for men's voices on tenor

and bass clefs, should the accompnnlmeut he Dlsvaa in tenor clef position, or octave higher InWX* treble, treating it as If it were the O. clef? tte

"2. What training in auricular work would von ~9 after intervals, triads, cadence-positions ion

■ ersions of chords?” Inversions of chords?"

1. If there is a regular accompaniment provided for the music, you should play it just as written. But meanwhile, if you are only playing the voice parts as accompaniment, you should play at the same pitch as the voices, which will bring your right hand down into the tenor clef. It is much better, however, that male part-music should be sung without accompani¬ ment if the singers are capable of so doing. If not, the ability to sing in this manner should be their first study.

2. Pupils who have advanced thus far in ear train¬ ing should at once begin on the mastery of short phrases. Have you had “Ear Training,” by Arthur E Heacox? If not you will find it valuable. “Dictation Exercises” in the Novello Primers will provide you with a vast number of phrases, which are arranged and classified in progressive order.

NOTATION THAT PUZZLES. “1. How ts the following measure played?

No. I.

1. If you would let your reason carry you all the way you would figure out the notes correctly. The three notes coming exactly on the first beat, naturally all come together. The music is in two parts or voices, as for example, violin and flute. B and C constitute the inner part, and while B could have been joined to the stem of the other part, C could not, as it is an eighth note played against two sixteenth notes in the other part. Assume for illustration that the time's 4-8. The second group consists of a dotted eighth on the third beat, continuing over the first half of fonrt beat, and finishing with a sixteenth on the last ha • The inner part has two eighth notes on the third an fourth beats respectively. Write these two Parts on two staves as if to be played with two hands, and i will seem clearer to you.

As written in the music the two hands s f exactly together. It is an ad libitum or ca ^ sage in which time is waived for the ' nv uld simply he played as fast as possible w,thcn' '

THE ETUDE 897

Department for Singers Conducted by Eminent Vocal Teachers

THE HYGIENE OF THE VOICE. In a recently published work upon

“The Tonsils and The Voice,” the author, Richard B. Faulkner, devotes one entire chapter to giving the opinions of famous authorities upon the Hygiene of the Voice. The following extract will be found very interesting by singers and teachers.

Mine. Cappiani (Practical Hints and Helps for Perfection in Singing) says:

"An earnest student adopts a sensible, systematic plan of living and studying in order to obtain the best results. I would suggest:

•:(1) A moral life, plenty of sleep and fresh air.”

(2) Eating at regular hours, food that is easily digested.”

“(3) Avoid alcoholic drinks.” "(4) Hearing concerts and operas dur¬

ing the daytime when possible, in order to avoid late hours.”

, “(5) Between lessons, practicing along systematically, twenty minutes at a time, then taking a half hour’s rest which can be employed to advantage in doing other work, such as: studying languages, piano¬ forte, musical history, physical culture, dancing, fencing, designing, painting, etc.”

“(6) Wearing suitable clothes foi changes of temperature to guard against colds.”

"(7) Avoiding invitations that involve too many social duties, calls, etc., which waste time better employed in outdoor exercise."

FURTHER WISE COUNSEL.

• ■ --a uu ocis so loose urn one can put them on as they are taken off is rather an advantage as they protect the sp-me. A singer must be provided with corsets that allow the lowest ribs to ex¬ pand.”

/‘Those who cannot abstain from smok¬ ing should exercise in moderation and should never inhale the smoke. Swal¬ lowing the smoke and letting it out through the nostrils is very injurious.”

THE NEED FOR MODERATION.

Mine. Patti, whose wonderful voice was marvelously preserved, says:

“Dieting for the sake of the voice is nonsense. There must be moderation, of course, in all things, for the singer, above all other persons, must study in¬ telligently her individual health condi¬ tions. She must learn how to keep her¬ self well. The girl who is ambitious to sing need not deny herself anything she fancies at the table unless that particular thing happens to disagree with her. un¬ less, indeed, she is to appear on the stage that same day. On the day of public performance it is necessary to eat very little.”

“Soup is really the best food for sing¬ ers, strong soup, well made. Rare beef is good, fruit and vegetables. Pastry and sweets are not good, but arc to be avoided more because they hurt the com¬ plexion than because they affect the voice especially.”

“Do not he oversensitive in giving weight to gossip about your voice and skill. Have contempt for flattery. Have patience in your art. Be cheerful. Have faith in yourself; lie earnest and diligent, and then with indomitable perseverance, you will succeed.”

"What is good for the general health is good for the voice. All kinds of nuts, because of the oil they contain, should be avoided on the day of a public per¬ formance.”

“Drinks, such as hot coffee and tea, or drinks that are too cold, taken just be¬ fore singing, are injurious.”

“Beware of eating ice cream before singing.”

“No alcoholic drinks whatever should he used by young singers: they, at best, being harmful stimulants.”

“On two occasions I had pupils, a tenor and a baritone, who were to sing. Both of them took champagne, expect¬ ing thereby to gain courage. The result was a rush of blood to the throat and neither was able to sing.”

“For experienced singers, advanced in a8e, or for singers of anaemic constitu¬ tion, half a glass of good, pure claret is serviceable as a stimulant.”

“Tor further information on diet, I would advise all singers to take the counsel of a competent physician.

IMPORTANT SUGGESTIONS.

“Singing in open air is permissible only ln a calm atmosphere.” . ' Singing or speaking in a carriage or 'n a rapidly moving train is very bad.

“To preserve his voice, a singer should never scream, laugh or speak unneces¬ sarily loud.”

“Stiff collars and tight ribbons, act ,lke tight corsets on the throat and are

AVOID ALCOHOL.

“What wines may a young singer al-

iw herself?” “If she really means to succeed, no ines at all. I don’t believe in wine. It jrts the throat almost invariably. Some iung singers, I know, are not strong, id doctors prescribe claret for them, it it is had practice to drink it. For yself, 1 never drink wine. 1 drink water, -, jf I need a stimulant, I take water

i'th a little whisky in it.” _ “If you were interested in a girl witn voice would you have her go in for hletics to build herself up physically r “That would be ruinous policy. Ine rl who is going to rank as a singer mst keep out of the gymnasium. She in’t fence. She can’t row. She cant de horseback. I enjoy nothing more lan horseback riding, and I n* «e!I. I sed to ride about Mount Vernon when was only six years old. But I base

iven up all that entirely. 1 nes.r nde ' * u interferes with the firmness and ,enness( of the voice and gives a

“'walking is the singers wercisc. Uie

the fumes of the weed are bad for the throat."

"How would you dress a young sing-

“No directions are necessary except the hint that good voices have been spoiled before now by tight lacing. 1 be¬ lieve in a well-made and properly-fitted corset, hut it should not fit closely enough to impede free breathing and the proper expansion of the chest Growing girls especially should lie careful not to practice with lacings tightly drawn.”

“Everything is summed up in the ad¬ vice to take sensible care of one’s self. The singer must go to bed early and not allow herself to get tired. She mustn’t fret Weariness and worry tell on the voice terribly. She must have as few outside cares as possible, and concentrate her efforts in a single direction, live for her art and live happily."

NO MAGIC CURES.

Mine. Lehmann (How to Sing) says: “There are no magic cures for the

singer.” "The repairing of a voice requires the

greatest appreciation and circumspection on the part of the teacher."

“There are teachers and pupils who boast of having effected magic cures in a few hours or days.”

"Of them I give teaming! and equally of unprincipled physicians, who daub around in the larynx, burn it, rut it, and make everything worse instead of better.”

Sir Charles Santlev (The Art of Sing- mg. 1908):

“I do not advocate smoking; those who find themselves perfectly well with¬ out, should leave well alone; those who find themselves perfectly well with it, ditto!”

“Hoarseness attacked me when there were flowers in the room, particularly the (to me) deadly gardenia, stephanotis, hyacinth, lily, etc."

“1 was singing at a private party one evening, in which Gardnni, the tenor, a soprano the daughter of Varesi, and others were engaged. I left home in splendid form, and was in the drawing room aliout half an hour before the con¬ cert commenced. I liegan to feel rather husky. When it came my turn to sing I almost collapsed, for I could scarcely produce a sound. Mile. Varesi was in the same plight. Gardoni was husky and all the others were more or less incapa¬ citated. The concert concluded, 1 wa» conducted into a room literally packed with ’harem lilies' the deadly exhala¬ tions from which had penetrated the drawing room. I got away as soon as I could and had not hem out of the house ten minutes before my voice was

as clear and fresh at when 1 entered it

Uicoq' iTfar as »'con¬ cerned. is correct I would advise all lingers to be on their guard against

Miller (The I’oice) says: "Personal cleanliness is one of the first

requisites. Bathing regular—not ex-

mutton. White meat of the fowl is the best meat for the vocalist Milk, eggs, joasted bread, string beans, spinach, lei tucc. rice and barley are excellent Fruit stewed—with little sugar Ice cream is bad. No harm in a cup of coffee, cocoa, or tea, for the singer in good condition. Smoking is injurious. Silk underwear is dangerous. Lisle thread or flannel excel¬ lent."

THE BEST EXERCISE.

Poyet; “Walking is the best exercise. A well understood hygiene concern* the totality of the functions.”

“After singing exercises that cause perspiration, rub down with flannel and alcohol and change clothing. Alcoholics absolutely forbidden.”

“Observe strictly general hygiene. Smoking irritates the pharynx, reddens the vocal cords, and may cause heart trouble harmful to singers."

“Avoid scented toilet powders. Two hours' work a day in study or singing is a maximum.”

“Studies in the bypaths of v>>cal hy¬ giene must hr dealt with as they ap¬ pear."

Rtsumt. What ever contributes to the general health favors the health of thr tonsil, and, also, the best condition of the voice.

The hygiene of the mouth, nose, throat, stomach and bowel* is favored by gen¬ eral and special cleanliness, fresh air. well ventilated sleeping apartments, abundant sleep, or repose, wholewunr food, regular hours for rating, regularity of the bowels and regular hours for sleeping.

Walking, in moderation, in the ot>en air is the exercise par ereellenre for voice users.

Alcohol is irritating to the mucous membranes, and, also, for other reasons, has no place, a* a rule, in the general system of hygiene,

\t a younger man I felt more inclined to be easy with tobacco u*ers. I>ul the older t grow the more I see the !«ad ef¬ fects of tobacco, and the less I am in¬ clined to condone and cater to the habit

A clean nose, a clean mouth, i loan bowels, clean habit*, are condtidve ts* (leaif tonsils and a clean voice.

898 THE ETUDE

For Nervous Women

Horsford’s Acid Phosphate quiets the nerves, relieves nausea and head¬ ache, and induces refreshing sleep. Best of all tonics for debility and loss of appetite.

B ROWN’I Bronchial ^

TROCHEV FOR THE VOICE

Are used by most singers and public speakers in preference to any other remedy. They are effective as well as convenient and per¬ fectly safe to use freely. In boxes, 25c, 50c, 31.00. Sample free. JOHN I. BROWN & SON Boston, Mass.

Free Band Catalog Catalog?. Thousands Allowance for'oldbffitruinenui.

VOrlTIzer We supply the United St

Offers now being?made. Evt ment you want. Writ* tod*., IBS 80 „„„ Free Band Catalog. No obligations—Catalog is Free. The Rudolph ffurlitzer Co.. c>',' c'i.i0h1!°

This shopping list, in c__ of green leather, stamped in Pfcj gold with extra insert ’ F r boxed with gift card is a Pohlson gift that is sure to please. It is the handiest list _ imaginable. Sent postpaid . *.50 together witli our book «—*--*•' 1 of “Unusual Gifts.’’ -

Send for oar book THE POHLSON*GIFT SHOP. Dept. 70, PAWTUCKET,«.I.

“THE VOICE INSTRUMENT” is an invaluable aid to the student of voice, whether under tuition of a master or obliged to cease from regular work. Price-?2.00. Published by THE REPUBLICAN PRESS, Hamilton, N. Y.

J. ALBERT ALLEN, Jr. Concert Pianist and Teacher

Harmony and Music Analysis taught by mail

Address P. O. Box 61 Studio, Steinert Bldg. Providence. R. I.

D. A. CLIPPINGER Teacher of Singing

Author of Systematic Voice Training Send for Circular

410 Kimball Hall, CHICAGO

NOTES ON THE BASSO

PROFONDO.

BY FRANCIS ROGERS.

Many a bass can encompass a manly low F or E, but the true basso profondo differs from all other basses in this re¬ spect—the lower he goes, the bigger and more telling becomes his voice. The ordinary bass begins to lose his carry¬ ing power and rotundity of tone some¬ where about his middle C; but this is where the basso profondo begins to gain in both qualities, his voice acquiring more and more, as it descends, the heavy, pulsating, all pervading timbre of the largest pipes of a great organ.

Russia, according to general report, abounds in voices of this character, which play a prominent and essential part in the service of the Greek Church (recently we heard one of them in a concert of ecclesiastical music given in ASolian Hall, New York, by selected Russian voices), but the only Russian bass of real artistic distinction that we have heard in this country, Chaliapine, al¬ though a remarkably fine singing actor, was not exceptionally endowed in the matter of voice. The countries of South¬ ern Europe produce few voices lower than the baritone, and it is probably not too sweeping a statement to say that no basses at all come from Italy, the land of song. Edouard de Reszke and Planqon, Polish and French respectively, were bass-baritones in quality, although their lower range was an extended one.

In America most chorus choirs contain at least one “growler,” whose function it is to furnish the deepest notes in the choruses, but his voice is usually rough and unmanageable, and seldom, if ever, reaches so high a degree of cultivation as to be agreeable to the ear in solo singing. Cultivation, too, while developing facility in the upper range usually robs the low¬ er of its sonority, thus proving that the voice is not a real profondo, which would, of course, develop its true char¬ acteristics under training. In our musi¬ cal annals of the last fifty years the names of only two basso profondos have indisputable right to place in our musical Hall of Fame—Carl Formes, a German, and Myron Whitney, a New Englander.

Carl Formes (1816-1889) came to America about the middle of the last century, spent many years here and final¬

ly died in California. His voice must have been a superb one. His favorite signature consisted of a musical staff bearing the bass clef; below the staff was the C; above, the F, the limits of his vocal compass and his initials. His voice was of magnificent volume and quality, although tradition credits it also with something of a tremolo. Besides, he was

i a strikingly handsome man and a good actor. The part of Sarasto was partic¬ ularly suited to his great vocal gifts and yielded him many triumphs in the course of his long career.

Myron Whitney, who died' only a few years ago at a ripe age, came upon the scene just about the time of the retire¬ ment of Formes. His singing first at¬ tracted attention during his period of service in the Civil War. Later, as so¬ loist with the Christy Minstrels, as mem¬ ber of the Boston Ideal Opera Company and of the American Opera Company under Theodore Thomas, and as bass singer in countless oratorios and con¬ certos, he achieved a wide and deserved popularity. As an actor his capacity was small, but as a heavy bass singer he was without a rival in the whole country. His voice was a ponderous and majestic basso profondo of the truest type. Many were the astonishing feats that he could per¬ form easily with his wonderful organ. Low C was his familiar friend, and he used to conclude both Hullah’s Three Fishers and Im tiefen Keller with cadenzas written to display this mighty note in his voice. W. H. Clarke, the bass that succeeded him in the Ideal Opera Company, relates that he once heard Whitney in a huge convention hall in Chicago emit a low C that penetrated, full and clear, even to the most distant parts of the great auditorium. One of his after-dinner “stunts” was to utter sonorously and repeatedly, without taking breath, the mellifluous and appetizing words “pumpkin pie” on the B-flat below low C.—The New Music Review.

“I have worked almost as hard since my debut as before. A prima donna’s workings days are never over so long as she is before the public. I am constantly studying some new role, whether I expect to sing it or not. If one does not learn new parts her art is sure to stagnate, and progress is the surest way to success in music. Each time I try to do better than before, and in this way my work is made interesting.”—Mme. Melba.

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in^ selected, perchance.

ng from contemporary ; tost stimulating book*.

Von Billow and the Piano Tuner

piano upon which he played, lie wouldn't allow the Instrument to lie tuned In the wareroom, one of his whims being that even a short removal of a piano knocks it all out of tune; and there’s something in the theory, at that. So I tuned it upon the platform upon which he .- ‘ —'—

"lie s agonized whoops and

words, until I coudn't help but laugh in his face. Finally, when 1 had the piano almost tuned he gave a few more shrieks and grab¬ bing the wrench began doing the job all over again. I let him go ahead and Inside of three minutes he had the piano so hope¬ lessly out of tune that it took me three hours to get it into shape again. Ilerr von Biilow had to pay double for this little exhibition of temper."—77ie Sun (New

Appreciating Bach How many University students plugging

away at Ciesnr’s Gallic Warn can see any¬ thing of beauty in the book? Who, among those who spend their time looking up the meanings of (he words In the Greek dic¬ tionary, regards Xenophons Anabati*

Vis*- thosm works hflVP not 8UI

Bow Verdi Saw Lohengrin A Verpi document of historic Importance

Is described ^ In foreign journals a copy

Italian words, which was used by Verdi to follow the performance of thai opera In Bologna In 1871, and which he •ssplouslv annotated in pencil. It shows no lick of appreciation for the music. Tile word hello incurs frequently, and be has even a belli* simo tor the dramatic climax of the llrst

sed surv{vej?’ ior euLim.ee- sue « college. They have lived because of their intrinsic literary

SrThereS'is something of a similar public attitude toward the music of Bach.

erature? Yet these works b: primarily that they might b for entrance I"*" “

criticisms. Pm; lie I slowness of the dec

singers which Wagner sured at other perfo

follows tne King's pr value, and makes the

Evidently the perfon fective, Verdi notes that the tempi were o

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appreciative It his collected The Hernial/ I

Faust in Japan

The I usual piano student, in a coMervntog. knows him only through the two and three part inventions, perhaps the '«"» lug of all his works. He ™n where near Czerny, or Ci Heller. "* lingers obey his will, so that be may

Mirried safely a. so‘many "that Regards the In,rds.u^ necessary to " j'™” a| J£,ult obtained.

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900 THE ETUDE

THE CHRISTMAS SERVICE.

HARVEY B. GAUL.

There are two great festivals in the church year. To be sure there are other festivals, but they are festivals of the second class, as they say in France. These two festivals are Christmas and Easter. To most people Christmas means more than the mere exchanging of presents; it is the one season for the giv¬ ing of self. Among those who stand pre¬ pared to give are the church musicians. Their contributions go a long way toward making a “Merrie Xmas.”

In preparing the Christmas program, great care should be taken to make it a festival one in every detail.

The Venite, if chanted, should be given a new chant. Why use the thread-bare chant that has done the advance work for the rest of the.year?

The Te Deum, if sung, should have a brilliant setting. This setting is best real¬ ized after the manner of Stanford (in B flat), Warwick Jordan, Tertius Noble, and Horatio Parker. If the choir is largely volunteer, or amateur, then Wood¬ ward in D or King Hall offer desirable settings. If the choir be a quartet one, Dudley Buck’s Festival Te Deum makes a commendahle number. It has all the grateful qualities for solo and ensemble work.

At Christmas and its octave the Ben- cdictus should be used, and not the Ju¬ bilate Deo. The Benedictus is the can¬ ticle that best gives expression to the Natal Day. It should be the complement of the Te Deum, and not an extraneous setting. Nothing need' be said here about anthems, offertories, or solos, because most choirmasters and choristers take advantage of these opportunities. It is the seemingly less important parts of the service we would consider. Kipling said: “No pack is braver or stronger than its weakest wolf,” and it is true no service is better than its least important parts.

In choosing our hymns we should see to it that they express the message of good will on earth, and having taken care of the words, we should wisely choose our tunes. Many a Nativity hymn has sounded like a Lenten dirge of penitence because the tune was not seasonal.

The instrumental part of the service may be made just as appropriate as the choral, if we would give it the same amount of thought.

A short preludial organ recital either before the morning or evening services is a commendable feature. The numbers given should be appropriate to the season.

If one has given recitals at other times during the year, then that feature should be omitted, and something quite different considered.

A better idea than the organ recital is the supplementary use of orchestral in¬ struments.

The violin or ’cello furnish the most complimentary color of all the instru¬ ments. There are many appropriate com¬ positions for violin and organ. If your church is wealthy a string quartet is an acquisition worth considering. Many or¬ ganists regard the string quartet as the best combination, because the timbre and

scope makes possible many works that otherwise could not be given in church.

Another suitable obligato instrument is the harp. The harp'is used continually at Grace Church, New York, with telling effect. The quality and treatment of harp work make it a happy auxiliary. While the literature for harp and organ is not as large as for violin and organ, Still there are many available compositions. A good harpist can arrange seemingly un¬ toward compositions so that they are high¬ ly acceptable.

The humble flute may also be consid¬ ered. You will say: “Yes, but the flute is redundant; we have flute stops in our otgan.” So we have, but there never was a flute stop made that had the mel¬ low, cooling tone qualities of the • real flute. Our flute stops only approximate flute tone, as our string tone—so-called— only approximates violin tone. A good flutist has quite a literature from which to choose, and you will find the blending of organ and flute most satisfactory.

Rectors and music committees appreci¬ ate the drawing power of special music at Christmas. It is a good thing to have just as much elaborate music as your forces can dispose of creditably. If it is a quartet choir, augment it to a double ot triple quartet; if it is a chorus choir, engage an extra soloist. You will usu¬ ally find the church authorities willing tto cooperate.

There is one thing that will bear em¬ phasis, and that is the wisdom of pre¬ paring long in advance your Christmas program. The procrastination of some choirmasters is a pernicious habit. It is advisable to have all canticles, anthems, and instrumental numbers arranged early in the season, then if some emergency arises, the choirmaster is able to cope with i’ without completely upsetting the pro¬ gram.

ORGAN MUSIC FOR CHRISTMAS.

BY IIARVEY B. GAUL.

Scene: Any music store on Christmas F.ve. Please make your own snowstorm. The clerk stands behind the counter hum¬ ming “ ’Tis the night before Christmas and all through the shop, us clerks is kep’ busy, on a jump, skip an’ hop.”

Enter in hurried fashion a man (or woman) disguised as an organist. To clerk:

“Show me some new Christmas organ music. Want something bright and fitting, and in a hurry, please!”

Clerk: “Sorry, but we have no Christ¬ mas organ music left. Sold the last this afternoon to a lady from Mingo Junc¬ tion.”

Organist: “All right; then give me a copy of Handel’s Largo; guess that is Christmasy enough.”

Tableau, Exit.—Curtain.

How many churches there are that hear

Handel’s Largo on Christmas morning. Not that that is anything against Handel

or the Largo; they are both acceptable and in their way and place, good friends, but there are other times to feature them beside the season of mistletoe, holly, and

over-drawn bank accoun's. Gioosing suitable organ music for Christmas is

merely a matter of grasping Father Time by his hirsute adornment and ordering in advance. The organist in the large city has little difficulty in securing the pieces he wants, but his brother in the small town has troubles that only the mail or¬ der can overcome.

Below is offered a compendium of or¬ gan music selected from many nationali¬ ties. It is not all inclusive but it does contain standard numbers for the Yule season. They will be found to contain grateful qualities both for congregation and player, and for the greater part are easy.

In thg way of preludes we have many effective numbers. Starting with Bach, there is the ingratiating Pastorale from the Christmas Oratorio. It is lovely in its use of flute work. Also of Bach’s there is the little known chorale, on the bid Christmas air, which Bach uses under the title Von Gott werde ich nicht lassen, This chorale has the melody in the pedal and when played on a pedal Gamba or light stop, is most felicitous.

Other preludes are the Pastorale Sym¬ phony from Handel’s Messiah; Variations upon an ancient Christmas carol, De Thier; Christmas Chimes, Gade; Hosan¬ nah, Lemmens; Hosannah, Wachs; Ho¬ sannah, Dubois. These are all service¬ able preludes.

For interludes, voluntaries, or offer¬ tories the following are suggested as they contain to a great degree passages re¬ quiring solo stops: Christmas. De Thier: Christmas Pastorale, Merkel; Virgin’s Prayer, Massenet; Adoration and Vox Angelica, Dubois; Cantique de Noel. Adam ; Christmas Musette. Mailly; and last, but no where near least, the exquis¬ ite Chorals and Noels, Guilmant. These delightful Noels of Guilmant, containing as they do, the happy Alsacian Noel, are little known in this country. They are among the best in Christmas organ litera-

There seems to he no limit to the lati¬ tude and longitude of postlude mate¬ rial for we have all styles, classes, and countries from which to choose.

If you are a traditional person and adhere to the stereotyped form of post- Judes you can use And the Glory of the Lord. For Unto Us. and the Halle¬ lujah choruses from Handel’s Messiah, or you may use The Heavens Are Tell¬ ing, or Acclaimed is the Glorious Work, from Haydn’s Creation, or again,' the Hallelujah Chorus, from Beethoven’s Mount of Olives, or some of the chor¬ uses from Saint-Saens’ Christmas Ora¬ torio. These all make a brave showing and are eminently fitting for closing serv¬ ice. There are many arrangements of these numbers, some are literal transcrip¬ tions, some are fantastic. It is to be sug¬ gested, that if the organist has any ability in this line, he make his own transcrip¬ tions or paraphrases.

For the organist who does not entire¬

ly believe in transcriptions or the use of oratorio choruses, the following numbers are to be commended.

March of the Magi, Dubois; Christmas Pastorale. Dinelli; March, Harker; and Alleluia, Wachs.

For recital work or the opportunity for

using more pretentious pieces, there are

numerous available compositions. For in¬ stance: Fantasie sur deux Noels, Bonnett;

Rhapsodic on Christmas Themes. Gigout; Rhapsodies—three in all—on Canliques Breton, Saint-Saens; the Gothic Sympho¬ nies, Widor. based upon the Christmas Hymn, A Child is Born; the set of

three Christmas pieces, by Otto Mailling, The Shepherds in the Fields, The Three

Wise Men, and Bethlehem. For lighter effc-ts and touch of color, A Noel Sou¬

venir, Wolstenholme, and The Holy Night,

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901 Dudley Buck, from the Four Tone Pic- lures. These works are all admirable mneert pieces. When it comes to varia- Cns on O Come. All Yc Faithful, we have all kinds from Lefebure-Wely’s Venite Adorcmus, and De Thier’s arrange¬ ment, up to the embryo, tyro, pseudo, com¬ poser who lives in McKeesport and be¬ lieves his variations are more varied than the prescribed and printed settings.

This Christmas compendium was com¬ piled primarily for the organist in the small town, incidentally it is hoped it will

OBSTACLES IN THE ADVANCED

PROTESTANT CHURCH MUSIC.

BY PHILir DAVIDSON, JR.

One of the most stubborn obstacles to the advancement of music in the Protes-

• tant church has been the hysterical fear of adopting either symbol or substance

from Rome. Beyond the shadow of a doubt a great proportion of the noblest church music belongs to the Roman church; but since it was once Roman property apparently it may never be tak¬ en over into Protestant worship. Roman discipline and the reverence growing out of the Catholic conception of the sacra¬ ments have ever fought to perserve the standard and to produce church-music of a churchly type. Martin Luther recog¬ nized this fact, and did not hesitate to draw from the musical resources of the Roman church. Nevertheless, to Protes¬ tant worship this fund of literature is

practically closed and in many cases is woefully neglected by the Roman church

itself. Another contributory cause for the un¬

healthy musical condition of the Protes¬ tant church has been the ignorance of

the clergy and in many cases their dis¬

interested attitude toward music. The easy dismissal of their obligation to be found in banding over the administra¬

tion of the musical rites of their church to a "music committee” more often than not made up of gentlemen entirely inno¬ cent of even the slightest information

on the subject of music, skilful to hire labor cheap, hut with hardly the knowl¬ edge essential to so spiritual a task as that of regulating, in a general way at least, one important exterior of worship. Happily some progress is being made in

this direction and practically all the theo¬ logical seminaries of this country are of¬ fering musical instruction in their course of Study. In the West, two and three courses in music are required for the de¬ gree of Bachelor of Divinity, and in Switzerland every theological student must be a competent organist 1

The Episcopal church, of all the Pro¬ testant denominations, is freest from musical error. A fixed liturgical proced¬ ure involving the observance of the Christian calendar, and the rejection of all texts and music not originally intend¬ ed for sacred use has done much to pre¬ serve her musical integrity. Too often, however, the attitude has been one ot indifference. It has been felt that music was only an artistic intrusion for the purpose of separating the prayer from the sermon and by an occasional bynin to afford the congregation an opportunity for relief from long-sitting. This aititu e

disappearing to a certain extent art we are coming to see that music m c Church is a real factor in religious ex-

the etude

perience. St. Augustine frankly attrib¬ uted his conversion to its influence.

But what of the remedy? And where must we strike for improvement? To the musically untrained music is judged necessarily on sentimental grounds. Either it appeals or it does not. But to ask a man to renounce music which has long been dear to him and which is backed by years of religious association is obviously foolish. It is not probable then, that much will be accomplished in this generation. It is in the Sundav- school, however, that we can mould the future trend of church music as wc would form the life of the child him¬ self. Allow him to hear nothing but the noblest type of church-music, let him sing no hymns but the. most spiritual and exalted ones, and in his after life he will expect and demand such music in the church itself.

The evil has become so acute that at least one' great musical organist in this country will this year undertake remedial measures. But speculation, advice, and scattered effort will never avail. A ver¬ itable awakening must take place, an honest determination to cure the evil and to build up a worthy and dignified stand¬ ard for the future. For in the last analysis the problem reverts again to the question of the function of worship and the sincerity of the worshipper. Truly “God is a Spirit, and they that worship Him must worship Him in spirit and in truth.”—From The Harvard Musical Review.

THE SHORT VOLUNTARY.

There is always a demand for the short

voluntary. Congregations that are so lamentably

small, deacons who are so nimble, and of¬ ferings that are so sparse, make a demand upon the organist for voluntaries—offer¬ tories—often no longer than twenty-four measures. This makes a strong argument for the acquisition of improvization, but since the majority of so-called organists

do not study harmony, and have no time to give even to organ playing as it should be, how best can the demand for short -voluntaries be met? That the offertory must be simple and tuneful goes without the saying. If a music store is at hand, or literature containing organ composi¬ tions finds its way into the borne, one can, in course of time, collect a great number of composition. wh.ch. * " the first short periods alone, repeated necessary with a change of registration, or the final periods; from return of them and including coda, or first »"d cone ud- ing sections, will offer a reasonable -lu tion. If one can study to break off at each and every measure, and w.Ih a knowledge of the simplest form of m ui So come to the dominant with M to make an immediate end. theprobfm has been solved. The whole matte ,. *>

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THE ETUDE

CAROLS AT CHRISTMAS. Give each one a series of papers bearing

BY JO-S^T*WATSON. s£Parate headings: _ 1. Name of Author, and words of

We Americans do not follow the Eng- Carol, lish custom of singing carols on Christ- 2. Name of Author of Music of Carol, mast Eve. It is a beautiful one. and in And on one set of slips have drawn the the smaller cities where there are few di- lines of the treble staff, versions there are many lovers of music When all who are to take part in the who might make carol-singing a special game are supplied with these, sit down at feature of the Christmas celebration. the piano, or place one of your pupils

There are many modern Christmas there, and without announcement, play a carols in the type of the two-part song, familiar carol—Adeste Fideles, for in- the most popular of the present-day Eng- stance. lish carols are translations from well- Play it through two or three times and known hymns and carols of the middle then give the children time to write down ages. One of the oldest existing carols the words on the first slip of paper, is The Boar’s Head Carol. Some of the A correct slip would appear as follows:

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old favorites are Royal Day that Chasest Gloom and Christ was Born on Christ¬ mas Day.

Throughout England as the clocks strike midnight on Christmas Eve the church bells break the stillness of the night with their joyous chimes. The poet Tennyson refers to it in his In Metno-

Tbe n._____ „v The Christmas bells from hill t . Answer each other in the mist.”

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* land’s Christmas celebration. “England was merry England, when Old Christmas brought his sports again. ‘Twas Christmas broached the mightest ale; 'Twas Christmas told the merriest tale; A Christmas gambol oft would cheer A poor man's heart through hafe the year."

So this year do not let the Christmas

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No. 1.

ADESTE FIDELES. Translated from the Latin by F.

Oakley: O Come All Ye Faithful, etc. For the second number on the program

take While Shepherds Watched Their Flocks by Night, to the old, old tune which has been sung for many ages of Christmases.

ii± Play this through several times, and

ThosVwho have"readlScoU’s'Marmip« °f co“rse> tho,se ,wl'° kn™ wil1 wr!te 0,1 M will recall this description of old Eng- “?,e .sl,Ps parked No. 2 the tune called

land’s Christmas celebration. Christmas, by Handel. When this has been concluded, produce

some sheets of plain foolscap paper; and distributing this among the children, play the old game of “Biography.”

This consists of writing the essential , , „ , , , _ facts in a musician’s life without mention-

carol be confined to church and Sunday- ing anv name. atld then leavin the others school. It is the part of every American guess the subject of the sketch, teacher to bring this beautiful custom A few hints as to th!s mav be iven be_

nnrn0a°hUr 17’ ” 1 “T* T ^rchand; assigning to different scholars, proaches let every one prepare for the different names musica, historv which s ng.ng of at least one Christmas carol. have a specia, bearing upon ar;stn,as_

FLCChSLPc^erbu?7ee^a0dye7"r' Ha>d"’ Handel, Adam-and the well- - known carol and Christmas hymn writers.

MUSICAL GAMES FOR It: is a'Iowahle that a little preparation CHRISTMAS. be made for t,lis in the way of looking - up dates and verifying facts; hut the ae-

BY LEONORA sill Ashton. tual work of composition must not he

Instructive games are of great value done until the evening itself, to both young and old pupils; and in the This Part of the program will be of holiday time, when you will probably jntense interest, both in the writing and wish to have some kind of a festival for *n the reading of each effusion, and then your scholars, you will find it very easy 1,!C guessing as to the hero of each story, to tinge these games with the Christmas Many little items of interest especially spirit. connected with Christmas may be found

In this way, a charming and instruc- Ly searching for them; and if this is ex- tive afternoon or evening may be given; plained to the children a few weeks before to which the fathers and mothers, and all the holiday time, a small period of his- those interested in the children, may be torical research will ensue to the great and invited. t lasting benefit of your pupils.

First of all will be the Carol Test; and The same idea of “Biography” may he here you may make use of all the dearly- carried out in writing the history of a loved Giristmas Carols, the words and great musical work—the Messiah, Beet- music of which, with their attending de- heven’s Sonatas, and others, tails, should be familiar to all of us. All of tnese games may be interspersed

Should be—hut are they? Let the older with selections on the piano, and with persons join with the scholars in playing singing by the children, and all music this game and we will see. lovers in the room.

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There is no better Holiday Gift for music lovers than a year’s subscription for The Etude. It is a constant reminder of your thoughtfulness. A dollar and a half can not be invested where a greater return will be given. Think of the music value alone

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the ETUDt

the best method of hold¬ ing THE VIOLIN.

by frank thistleton.

In the first place, the position in which the violin should he held is very impor¬ tant, and most precise directions are necessary, as too much attention can hardly be given to the subject. Standing

instrument round towards the front of the body. The neck is inserted between the first joint of the thumb and the base of the first finger. The first finger and thumb—which should be kept straight and placed slightly underneath the neck to avoid gripping it—must form a V, the neck resting only half-way down this; while the elbow should be brought well under the violin towards the front of the body.

The head should maintain an erect po¬ sition and the body remain still (Fig. I- III). All movement, other than that which is necessary in the course of play¬ ing the violin, is undesirable.

THE METHOD OF HOLDING THE BOW. After the pupil has become acquainted

with the correct method of supporting the violin, the teacher should proceed to explain in what manner the bow is held.

gers should then l>e placed on the stick in the following manner. The first lies along the suck just beyond the first joint, and on no account beyond the sec¬ ond, which would destroy its flexibility. In this position the bow will lie between the first and second finger-joints. The second and third fingers should just fall over the stick to about their first joints, which must he slightly bent outwards. The fingers must not be perched on the top of the bow, with the exception of the fourth, the tip of which actually rests on this part of the stick. Do not cramp the fingers too much together, but try to hold the bow naturally, and without unneces¬ sary effort The second finger should he opposite to the tip of the thumb, and all the fingerjoints bent outwards; while the fingers themselves should be inclined towards the stick, the first pressing de¬ cidedly against it. in this position the bow must be held firmly but without stiffness.—Modern Violin Technique.

I.

SHOWING THE POSITION OF THE ARM WHEN PLAYING AT THE POINT OF THE BOW

ON THE E STRING (LEFT HAND IN FIRST POSITION)

with the left side of the body towards the violin desk, the pupil should assume a natural but erect position, with the left foot turned slightly in the same di¬ rection as the body. The head should look well over the left shoulder, while the weight of the body should be sup¬ ported by the left foot. This ensures that the side of the body on which the violin is held remains quite firm to sup¬ port the instrument while the other side °f the body should be left equally free to guide the bow. The right foot should be almost on a level with the left (a little in front of it), with the knee slightly bent, hut a natural position of the feet—such as one would adopt when standing talking to a friend—is the most desirable. In any case, avoid all eccen¬ tricities such as a statuesque pose, and do not stoop when playing.

The violin is gripped firmly on its left s'de, between the chin and left shoulder, without altering the position of the body. A “chin-rest,” and a small pad underneath the instrument, will help considerably' in obtaining a firmer support for it. The violin should be tilted at an angle of about 45 degrees towards the E string, while the scroll should he correspondingly a httle above the level of the chin. Ami at holding the violin almost in a line with the two shoulders and do not drag the

VIOLIN CLASS INSTRUCTION.

Teaching the violin in large dases is much more common in England than in the United States or on the Continent of Europe. Every violin teacher knows that one individual pupil is all the teacher can manage at a time, if strictly artistic results are to be arrived at, and pupils are to be turned out with absolutely cor¬ rect positions and how movements arc to be produced, in fact it would take most of the teacher’s time to keep the violins strictly in tunc for a class of fifteen bud¬ ding young violinists. In England, how¬ ever. they take these things philosophi¬ cally. and in many English cities, espe¬ cially in the provinces, violin' classes arc popular. The instruction is obtained at a minimum of expense, as the class only takes an hour and a half or two hours of the teacher's time. The pupils arc taught in tliis way from the beginning, and some of the l»riglu ones make con¬ siderable progress. The teacher illus¬ trates, explains plays ihe lesson over for them and has them play it in unison, and the pupils learn a good deal from each other. While such a system of teaching may seem ridiculous to an auistic teacher yet it is a go<x! deal ahead 0 the violin by mail, which has lieu popular in tnis country. It enable music lovers who have no prof« ambitions to play well enough f> own amusement and UuU of tneir

11. showing the position of the arm *MEN

playing on the ni t of the DOW ON THE A STRING-

A beginner

the sS. without consequent si.ffcn.ng

be acquired after care,ul ;< a addition, the hokhjof merc much more subt e S Th<. technique supporting of the . b, djv more

of the right hand**U7d teach. than difficult, both to 1 .Ie«

,he thumb-joint being Tn tbis towards the po^the b ^ ^ ^

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904 THE ETUDE

ROOT VIOLINS DID YOU EVER consider the prices you are paying for Musical Merchan¬ dise ? Costs onlv ONE CENT to KNOW what you SHOULD. Our descriptive catalog of Musical Instruments such as: violins,’Cel¬ los, Mandolins, Banjos, Guitars, and everything pertaining to Music sent on request. V Highest quality In6trumen rectfrom the Manufacturers and Importers.

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HAVE YOU SEEN IT?

Assembly Hymn& Song Collection By PROFESSOR C. GUV HOOVER

Director of the Department of Music of the Kansas State Manual Trai Normal School

A compilation of the very best standard Four Part songs. Hymns and Choruses especially designed for use in Chapel, Assembly at Gen ' Exercises of High Schools, Normals, Colleges and Universities Already Adopted by Leading High Schools, Normal Schoola and

Colleges all Over the United States The President of one of our largest State Institutions says:

"The Assembly Hymn and Song Collection is by far the finest col lection of songs for school use that 1 have ever seen. The arrangemen Of the various divisions of Standard Hymns, Patriotic Songs, Loltegi Songs, Part Songs and Choruses, Etc., is quite ideal. The book will un doubtedlv fill a long felt need,” etc.

Hundreds of letters like the above have been received from leadtni musicians and educators. Consider the Price, only 65c. per copy. Postage 10c. additionaL A discount to schools in quantities of 100 copies or more. Write for returnable sample copy.

The Educational Publishing Co., Pittsburg, Kansas

For Sale by THE0. PRESSER CO., Philadelphia, Pa.

Which

months’ subscription for 1____ (regular price $1.00 at year), end your choice of citherthecollarorbagasdeKribedabove. When

ordering, be sure to State which you prefer. If you ate net already acquainted with THB Moijkhn

Pkiscilla, mad the following i Tfiete are two subjects In which almost evety woman has a live Inteiest— I'AMCV Work and lltiltSEKkariNG. "homy Wert," as the tetm Is Useit hem. Includes fimbroldety of every de¬ scription, Crochet, knitting. Utceitiaklng, Stem t iling, OK, Water Color, and China Painting, and many other feminine handicrafts, '• ttoueehupfng" Includes everythlnj you cstHhlnk of that has to do

EMhlastieemisMoDtiltNl’ltisctt.t.A Is divided Into luvpnrh-ont devoted to I'ANCVtVonK, the other to nvenvtMY lloVSHknaPINn. I-orbeaull- ful. original jnncy-nutS designs (from so to mo each month), with directions and Instructions, no tnneoeno anyu time equal, l it h MotiEHN Pris-

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THE MODERN PRISCILLA 85-0 Broad Street - Boston, Mass.

The Modern Priscilla

Fl*Me mention THE ETUDE when addressing out advertisers. .

VALUE OF VIOLINS.

No question is more frequently heard than: “What is my violin worth?” This question is exceedingly difficult to an¬ swer. The value of violins is to a con¬ siderable extent purely arbitrary. A dealer may pick up an old violin for a song, put it in perfect repair and good playing order and sell it for ten times what it cost. The buyer may keep it for years, and becoming hard up either he or his heirs may sell it again for the origi¬ nal low.price paid by the dealer.

Old violins sell for much higher prices' in the United States than in Europe, where it is often easy to pick up a fine old instrument for what seems an ab¬ surdly low price. In London, the great¬ est fiddle market in the world, auction sales of old violins are frequently held, and these sales are sure tests of violin prices, since they are attended by some of the shrewdest violinists and violin deal¬ ers in the world, who do not let anything really good escape them. Still the prices realized seem extremely low to violinists who are familiar with prices in the large American cities.

It must be remembered, however, that at these auction sales, the buyer buys at his own risk. The instruments sell strict¬ ly as they appear at the time of the sale, and there is no one to fall back upon if the purchaser is disappointed in his bar¬ gain, as there would be if the violin was bought from a private dealer who guar¬ anteed it.

A half-yearly special sale of violins and string instruments was held recently in London and the following are some of the prices realized, reduced to terms of American money: A viqlin, assigned to Stradivari, date 1692 (pronounced genu¬ ine by Gand and Bcrnardel), $1,000; a violin by Sanctus Seraphin, 1744, $260; a violin by Francesco Ruger, $350; three violins by J. B. Guadagnini, $1,500 each for two of them, and $800 for the third; two by Pressenda, one $430, and the other $475; two violins by Tomasso Eberle of Naples, $325 each; a Landolfi violin, $550; a Carlo Bergonzi violin, $800; a violin by Nicolaus Gagliano, dated 1762, $950. A beautiful Panorma viola was sold for $35; a famous Grancino violon¬ cello, $425; a Storioni violoncello for $275; a handsome violoncello by Venta- pane, $235.

These prices certainly make the Ameri¬ can violinist’s mouth water, if the violins sold were anything like fair specimens of the maker’s art.

OPERA SCORES FOR THE VIOLINIST.

white elephant to their preciously hoarded libraries.

Vocal scores of operas are not a thing that a student of the violin would prob¬ ably think of buying, and yet I have had so much pleasure and benefit.from the few which 1 own that [ venture to urge others to dissipate a few dollars in the purchase of the more tuneful scores The city was buzzing in anticipation of the opera season, and I was on my way back from the Public Library, where I had failed to secure the score of any¬ thing on the bill for the first fortnight’s performances, when I chanced to pass the doors of a music store that had gone into bankruptcy. Wishing to get at least a bundle of cheap strings, I went inside—to come out bearing the scores of Faust and II Trovatore, which I could only afford by giving up all hope of hearing any other opera during the month.

The rest of that memorable day was spent in going through the whole first and second' acts and ballet music qf Faust, and the succeeding performance of this opera, which I followed score and pencil in hand, was one of the most glorious experiences in my apprentice¬ ship. We violinists are apt to be too narrow; many amateurs cannot play the piano, nor, herresco referns, read music in the bass or viola clef. In my case these scores stirred me in my lethargy-, and lifted me forever from the rut. My friends and I have done about every¬ thing that is possible with this music; we have sung it, we have fiddler it, we have played it as trios with a ’cello, and even transcribed bits for transposing in¬ struments. Since then I have come to own the Messiah score, and intend to add a few more favorites to this decid¬ edly valuable section of my library.

In the Finnish mythology, the divine Vainamoinen is said to have constructed the five-stringed harp, called kantele, the only national instrument of the Finns. The frame he made out of the hones of the pike, and the teeth of the pike he used for the tuning-pegs. The strings he made of hair from the tail of a spirited horse. When the harp fell into the sea and was lost he made another, the frame of which was of birchwood, with pegs made of the branch of an oak tree. As strings for this harp he used the silky hair of a young girl. This in¬ strument he played with so irresistible an effect that he entranced whatever came within hearing of his music.-

WM. L. SCHWARTZ.

Every amateur musician has his own memories of disagreeable experiences connected with the purchase of music. During student days one goes to recit¬ als, coining hack fascinated with some number from an artist’s repertoire, and determined to buy it, only to find on ob¬ taining the music that one did not want it. Some years ago I remember hear¬ ing Fritz Kreisler play Saint-Saens’ Op. 83, the Havanaise for violin and piano, in such masterly style that it seemed to be no more difficult than a student grade III solo. When I succeeded in import¬ ing the music from Paris, it goes without saying that I was unpleasantly disillu¬ sioned. Indeed, I have not been able

ven to give the thing away to more ae- nnplished friends. Leaders of small rchestras, especially in country places

where opportunities for professional gos¬ sip are few, find that even the exercise of great care in ordering cannot prevent the occasional addition of a musical

NEUNER VIOLINS by leading sc the world.

and have bcc. W. ,- tg solo and orchestra players throughout

Price $25.00 We don’t consider a violin sold until tl- - •tomer is satisfied in evety particular. Catalog of fine Violins and Cellos sent free.

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To introduce my new Deep Cup

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Please mention THE ETUDE when addreisU* onr advertisers.

KEEPING your good humor.

r, BY MRS. 1- A. BUGBEE-DAV1S.

Keep your good humor? Why? Be¬ cause it pays. It means dollars and cents to you in more ways than one. Deeper than sentiment are the words, •The man worth while is the one who can smile when everything goes dead

I wrong.” All teachers know if our need I js trials to develop us into angels, then I there is enough material constantly at I hand to give us the necessary feathery I outfit for our flight.

We grown-ups can and must be philo¬ sophical, but we cannot expect it of chil¬ dren. Suppose little Tommy does come to ilis lessons with an air of grim deter¬ mination, as if about to have a tooth pulled and the sooner over the better. Don’t begin to preach to him about his

I “advantages” and money spent for his education, etc.; he doesn’t care a snap

I about all that. Get down to his point of I view and realize that if you were a boy, a I good live one, you would rather be going I to play ball than the piano. Come down I from your high musical pedestal and he I a child again, just long enough to ask a I few interesting questions along his line I of thinking, and you will arouse his sym- I pathy at once. No time will be wasted, I for the time taken in getting his music I ready will do the work. His relaxation I will be so great that he will becot te quite I lost in his music lesson. I Children are especially quick to detect I a light joking manner, and they see the I funny side of everything if given half a I chance. During a snowstorm a child of I eight years went to her lesson wearing I rubber boots; her moccasins were worn I to the piano. While playing they became I separated from her feet. Time came for I a breathing space of relaxation. Spin- I ning around toward her teacher, with I curls dancing, and black stockinged legs j straightened put stiff from an abbre- I viated skirt, she announced in her jolly, I dimply way, “Gold Dust Twins.” Again,

a teacher was explaining a new lesson to a child by saying, “Now we can notice

I that every time a note is played from I below we jump up to C.” As quick as a I wink, the child laughingly replied, “C I must be popular.” I With even such trivial relaxation while

working, there will be no tears for the I child and no headaches for the teacher. I Under these pleasant conditions does the

pupil lie awake nights inventing excuses I to lose her lessons ? No, indeed; instead, j he or she always looks forward to the I next lesson with pleasant anticipation.

Under harmonious teaching influence a I lesson lost is a punishment to the child,

as one teacher has proved, for she has I been told by different mothers that her I child has been made obedient by threat- I ening to deprive the child of the lesson I >f she is disobedient about something out¬

side of music.

“ART FOLLOWS BREAD.”

The age in which we live is a commer¬ cial one, and the spirit of business rules

. the artists and musician no leSs than the I physician and the lawyer. Perhaps it is

as well that we should cut our hair short aT1(l go to “business” every morning just

| Iike the bank president—or the corner I Srocer. In any case, we have to do it,

it is the only way we can make money. 1 Let us hope, however, that there will al- j ways be a few who value their art more

fhan their own comfort. “Write in a more popular style,” said Hofmeister, the Leipsic publisher, to Mozart, “or I can

j neither print nor pay for anything of I yours.” “Very well,” answered Mozart,

‘‘'Len I shall earn nothing more, go hungry, and devil a bit will I care.’

The Youths Companion

As it is to~day is the Best Christinas Present

Give it to whom you will, you will find all the family looking for it. It is more than fifty-two brimming issues of the finest reading the world offers —it is an influence for all that is best in home and American life. For 1914 there are Nine Great Serials promised, besides 150 shorter stories and great articles by famous men and women. The Family Page, the Boys' Page, the Girls' Page, the Editorial Page, the Doctor’s Comer, and a thousand bits of humor make the year delightfuL There is no Christmas Present like it for any one in any borne at any price.

REMEMBER—FIFTY-TWO TIMES A YEAR—NOT TWELVE

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^4— THE ETUDE (Tor all music lovers J

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| Youth’s Companton ETUDE. Fhllodelphto.

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SERVICES CHRISTMAS ORATORIO

For Solo*. Cboru* *»d Orchestra By W. W. GILCHRIST

CHRISTMAS Anthems. Solos, Duets,

: : Cantatas end : ;

NEW CHRISTMAS MUSIC anthems

J182-Th.reW.ro In th. Som. Country

J196-HO -Shall B'57h* Boll. 3206-Lift Up*Yo£r H«d«r

stsawssSr1-—: SESE'o’SHfcft '* 5-r

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EU-wSi* shophord. w*'chSQLOS,N sheet form t

A. W. Dtadm Cha». B. Bloun J. L- Hopktn. Fdwvn CI.r. F. H. Brockott

y. R. S. MorHioa

Wolcott

EfS SSSSJ^"*"^ CANTATAS

the morning star * Christmas Cantata for

SANTA CLAUS’ PARTY

Short Chrlstma* Cantete for Young People

By LOUIS F. GOTTSCHALK

......

D FORA COMPLETE listofowi^5 Chestnut Street - ' Phl a C

A Somplo Copy I

SERVICES With Joyful Song

Joy of Christmas

Clad Tidings

Moo, S cent. Mcfcl SS con*, pot Aooon.

TOY SYMPHONY

906 THE ETUDE

The Pied Piper of Hameln A Playlet for Reading at Children’s

Musical Clubs

(Assign a Reading Part to Each Club Member.)

5 the stranger

HANS.

(From the top of the railing)

Listen—:he Piper is piping the sweetest lay. He is telling them of rat catching without traps, or springs, or sticks, or anything.

ACT I (Morning at the fountain in the

ket. square. Enter Fritz, Hans, Gretel and Hedwig, carrying watci

GRETEL. (In a whisper)

Ach—hast thou heard, Fritzchen ?

. FRITZ. Heard what?

GRETEL. Of the Council.

HANS. Council for what?

HEDWIG. 'In an awed whisper) Rats!

. GRETEL.

(With fingers to her lips) Hush! (Pointing to the Rathaus.)

Yonder they sit plotting to outwit the ts—thou hast heard of the terrible raid

these rats have made—carried away my ermine coat, bit the dog, ate the swallowed the lantern of the old town watch, gnawed the mark from my silver spoon and nibbled a piece right out of the moon.

ALL TOGETHER. Ah-h-h-h! Oh-h-h-h!

GRETEL. Come, let’s find what they are doing, hands are-

\Ye will climb the rail on the eastern side and take a peek at these civic GRETEL. fathers. (Pulling Hedwig Di

(They pull down their water cans. Thou has seen cross the market place and climb the keep the window to rail on the eastern side of the Rathaus.)

HANS. (To Frits) Be quiet! Dost thou not know, lad,

that ’tis the Council Chamber?

FRITZ. (To Hans) Na. Na. They will never hear us above

the din they are making. See the Mayor shaking his fist at old Herr Grimm, and Peter, the tinker, is tweaking the nose of the beadle. Ethelrus, the clerk, has lost the buttons from his coat and brok¬ en his specks—what on earth will they be doing

GRETEL. . (From below) .

Seest thou not this corporation is the greatest consternation?

HEDWIG. ,( Disdainfully ) And over rats! (The children shriek aloud and tumble breeze.

from the railing as two large rats jump T ,"r „ f ; . , , ■ -■ - ■ - It s effect is as the odor of n

ed cheese. Fourth Rat. ’Tis delicious! Fifth Rat. Superbly beautiful!

(Victor Newsier, conductor and composer, was borrn In Alsace in 1841, and died at Strasburg in 1890. After studying theology in Stuttgart he went to Leipsie where he conducted male choral, societies. His opera, The piper o] Horne’n, became a universal favorite, so much so that there is scarcely n theatre iu Germany in which this opera through the Council Chamber window.) is not not* given.) HEDWIG.

The scene of the following events ts (Rising and rubbing her elbows and the old town of Hameln on the IVeser knees)

at a fright—but see who comes!

GRETEL.

(Brushing the dirt from her dress)

Knowest thou—’ti they are expecting.

(The children hide behind the oaken doors of the Rathaus—the Pied Piper enters from the left, he plays his pipe and passes into the Council Chamber, the children (lurry to the railing.)

done; they are not to listen, peep or pry about when he works his charm.

(The children run home with their zvater jars.)

ACT II (Evening of the same day, the moon is

rising over the market square, the Pied Piper sits alone at the edge of the fouit-

PIED PIPER. My! my! what a silly people! ’Tis

well they know not the charm which lies here (tapping his pipe). I could rock the bells from the steeple, .turn the moon to cheese, the stones to gold, level the hills and make ice of red hot coals. The Mayor himself, the doc¬ tor, lawyer, or the whole corporation, will never know how to work this combina-

(He puts the pipe to his mouth and blows softly.)

First Rat. (Stealing from the Rathaus steps)

What dulcet tones are these? Second Rat. Methinks ’tis the sound of a south

CHORUS OF RATS. No! No! A thousand times i

PIED PIPER. (At the river's brink)

’Tis a perfect night, so clear and bright Let s leap the bnnk of this tiny creek and follow the trail of the last moon-ray to the Land-that-never-has-been. 1

(The Piper trills his pipe and lean across, the rats follozv Inm. a cloud ob s.urcs the moon, they miss the opp0. site shore, fall into the river and dis appear.)

t*IED PIPER. (Laughing from the opposite shore) My work is done, now for the reward

before another day’s begun.

ACT 111 (Noon of the second day. Town

square, crowds surge up and down, bells are ringing, flags are flying.)

THE MAYOR. (Mounting the Rathaus steps) Rejoice—rejoice, good people, for the

joy the corporation has brought this

908 THE ETUDE

Appropriate and Suitable Christmas Gifts for Music Lovers |

Music Rolls, Satchels and Folios

Notwithstanding the constant increase in the price of all leather goods, it is possible for us to offer during these Holi¬ day times, the following list of satchels and rolls made of the finest grades of leather, at very reasonable prices, much lower than can be obtained anywhere else.

The satchels make most appropriate musical gifts and we would draw particu¬ lar attention to one which we have spe¬ cially manufactured for men’s use; it is full sheet music size, leather lined, doubles in the center and is without handles. The price postpaid during the Holidays is $5.00. Following is the list:

Music Rolls Cowhide, smooth finish, 14% Inches

long, unlined. Colors: Black, brown and wine. $1.00

Same unlined, 15% inches long. 1.30 Seal Grain, 15% inches long, unlined.

Colors: Black or brown. 1.30 Same, lined and bound. 2.00

No. 6. A portrait of Bach, Chopin, Handel, Haydn, Rubinstein or Schumann photographed in an oak frame and printed on a heavy board in photo brown ; a unique imitation of a framed portrait; size 9 x 10yi inches.

The prices of all calendars are the same—10 cents each; $1.00 a dozen, as¬ sorted, postpaid.

Metronomes Every teacher and every student of

music needs a metronome. No house in the world has had more experience in buying and selling metronomes than we have. There is no question but that a metronome is a most appropriate article as a musical holiday gift. We handle only those metronomes that we have found by long experience to be reliable.

Our special prices for the holidays, if cash accompanies the order, are as fol¬ lows; if cash does not accompany the order, then transportation is charged ad¬ ditional :

Music Satchels Half Sheet-Music Size Cowhide smooth finish, unlined, with

handles, folds the music once. Colors: Black and brown. $1.50

Seal Grain, same size and colors. 1.50 Seal Grain, unlined with longer handles

and bound edges, black only. 2.00 Same leather lined, turned in edge.. .. 3.00 Seal Grain, leather lined, bound edges,

black and brown. 2.50 Seal Grain, unlined, with pocket book

attached, black. 2.25

Music Satchels Full Sheet-Music Size Seal Grain, silk lined, with handles,

holds music without folding, black and brown .$2.75

Same size and colors, leather lined and bound . 3.50

Seal Grain, unlined, with handles and straps, bound edges, black and brown 3.50

Same size and colors, leather lined and bound . 4.25

Combination satchel can be used either as full sheet-music size, or folded Once. Seal Grain, leather lined and bound, black only. 3.50

Same silk lined. 2.50 Same ; white, washable, linen lined. . . 1.75

American Make, with Bell . American Make, without Bell .... French Make, with Bell . French Make, without Bell . J. T. L. Best Foreign Make .... J. T. L. without Bell .

2.15 3.35 2.35 4.15

Metronomes are sent by Parcel Post; the rate varies, according to the zone, from 14 cents to 36 cents.

Half-hour Glasses

In the studios of the best teachers are almost invariably to be found an hour or a half-hour glass, usually the latter; a most effective method of keeping track of the lesson time and the many difficulties surrounding that subject. The cash price for December on this half-hour glass packed carefully and delivered postpaid.

Music Cabinets for Christmas Gifts

Music Folios Heavy board sides, bound in reliable

cloth, lettered “Music” in gold on the cover, strings for tying, back 254 inches thick, carrying capacity 100 sheets of music, price postpaid, 60 cents. Some with heavier board sides, leather back, handles for carrying, 75 cents. Board sides covered with paper, cloth, J4 inch back, a small folio for carrying or keep¬ ing music from damage caused by handl¬ ing, 30 cents.

Calendars A simple, inexpensive gift is hard to

find, particularly when one has many to give. Calendars with the faces of great composers of music as their ornamenta¬ tion have always filled this need, perhaps better than any other low priced article. Our calendars for 1914 will be as follows:

No. 1. An imported, embossed card lithographed in colors, 6x8 inches in size, with an easel, containing a portrait of either Beethoven, Chopin, Liszt, Men¬ delssohn, Mozart or Wagner.

No. 2. Imported, embossed. litho¬ graphed in colors, size 4 x 9J4 inches, silk cord to hang on the wall, containing the same portraits as No. 1.

No. 3. Imported, frame ornamented with a formal design in green, size 6x8 inches, made to include any one of our 500 different imported platinotype post

No. 4. Same as No. 3, except as to size which is 8 x 6 inches, taking postal cards printed with the width of the card.

No. 5. A cabinet sized photograph of Beethoven, Chopin, Liszt, Mendelssohn, Mozart or Wagner mounted on a_ brown mat board, size 8 x 10 inches, with silk ribbon to hang on the wall, brown pad ; a neat, artistic and useful studio decora¬ tion.

Entirely apart from the decorative fea¬ tures which make Music Cabinets es¬ pecially acceptable at Christmas, a good cabinet is a most useful piece of fur¬ niture in any musical home. Go over your musical library carefully and you will find that it represents quite an in¬ vestment. Surely it deserves to be pro¬ tected from the wear and tear that always comes when music is heaped upon the piano. Styles change from season to season but we have procured the very best cabinets for the money invested! They come in mahogany and walnut, 41 inches high and 20 inches- wide. The prices, $10.00, $13.50, $16.00, $18.00, de¬ pending upon the elegance and size.

Another type of cabinet known as the Tindale Cabinet is composed of a series of shallow drawers and is adapted to better classification and cataloging. These cabinets accommodate from 200 to 600 pieces of music and have the strong en¬ dorsement of many well-known profes¬ sional musicians who have installed them. In price they range from $12.00 to $35.00. Let us send you a descriptive list.

Following are prices: Cabinet 41 inches high, 20 inches wide, depth inside 13 inches, handsomely veneered on top and front, in mahogany, $10.00. (The same cabinet may be had one inch larger and .vith serpentine front at $13.50). A much finer cabinet with mahogany top and front, double automatic doors, carved drawer at top, size 42 x 22 x \V/2, costs $18.00. In the Tindale cabinets, style A, mahogany or quartered oak, 13J4 inches high x 17M inches wide, eight drawers, accommodating 200 pieces of music, oak $10.00, mahogany $12.00. Style D, 40 x 1744. capacity 400 pieces, 16 drawers, quartered oak, $20.00, mahogany $23.00. All prices for these cabinets are net. Shipped by freight collect.

Musical Post! Cards and Pictures

The ever popular Platinotype Post Cards are still on the market, and from all indications are daily increasing in popularity; these are cheap in price but not in quality—a far richer and sharper finish than any of the modern dull finished photos. Our list contains over 500 subjects, including most all the promi¬ nent composers, singers, violinists, etc., of the past and present. Write for new catalog. Our Bromide Cards are real photographs with a rich brown, glossy finish; this list contains about seventy-five subjects. These post cards can be ar¬ ranged in various ways and made up ac¬ cording to one’s taste into many suitable gifts. Price 5 cents each or 50 cents per dozen in any assortment desired, or let us send you our own Special Holiday Pack¬ age containing twelve cards for 40 cents postpaid.

We have been fortunate enough in placing an order before the general rush and we are now in a position to furnish our readers with a real, solid, black oak frame made from 2 in. moulding, con¬ taining any of the above post card photos, finished complete ready for hanging. Special holiday price, 60 cents postpaid.

Colored Post Cards, our own make, each containing photograph of composer and birthplace, printed in nine colors. There are fourteen of the Great Com¬ posers in this set. Special holiday price, 30 cents postpaid.

We have just issued a new catalog con¬ taining many new musical pictures which we will forward free for the asking.

A new series of the most popular cover titles of past issues of The Etude without reading matter, done in genuine- brown photogravure on heavy paper, of the following subjects, size 11 x 15:

Beethoven—The Approaching Storm. Dream of a Masterpiece. Harmony. Her First Lesson. Inspiration. Visions of Wagner. Franz Liszt. Mozart at Salzburg. Musical Hall of Fame. 14 x 22. Schubert in the Home. Schubert—Maid of the Mill. Special price, 25 cents; hand colored,

75 cents postpaid. We can furnish a frame for any of these 11 x 15 photo¬ gravures size 15 x 18, a fine quality and design of oak, for $2.50, postpaid. This framed picture is well worth more than we ask; we offer it as a Christmas special.

We have also portraits of Chopin, Liszt, Rubinstein, Schubert and Schu¬ mann, special price 25 cents, postpaid.

Three panel portraits in brown photo¬ gravure, each containing four great com¬ posers, price 10 cents per sheet, or $1.00 per dozen postpaid.

No. 1—Bach, Beethoven, Mendelssohn and Wagner.

No- 2—Chopin, Liszt, Mozart and Schu¬ mann.

No. 3—Handel, Haydn, Rubinstein and Schubert.

Artistic Portraits of Musicians

Many of our subscribers will remember that last year we offered some very artis¬ tic portraits at a very nominal rate during the holidays. We still have a number of these left. We had 17 subjects last year and this year we have but nine. The nine composers that we have this year are “Tschaikowski,” “Moszkowski,” “Gounod,” “Schumann,” “Grieg,” “Liszt,” “Pader¬ ewski,” “Wagner” and “Handel.” We will dispose of these during the Holiday season at 5 cents each postpaid or six for 25 cents. The selection must be left to us. However if the subscriber desires to mention a particular composer that they wish included, we shall be glad to send that one if the supply is not exhausted. If it is exhausted then we shall have to substitute, as we expect the entire stock will be exhausted before the Holidays are over. These portraits are positively art

■nigui uc uassed more as an engraving than anything else. Th-v*- all very suitable for framing. The 1H of the pad is 10 x 12. Slze

Special Pictures

Their Son. A small French picture of the return of the genius son, playing his violin for the family. Size of mat15*11 —picture 5j4 x 7J4; one color, price 50 cents; December holiday price 25 cents

The same, hand colored, price $100- holiday price 50 cents. ’ ’

The Musical Hall of Fame. A photo¬ gravure, size 22 x 14. containing excel¬ lent likenesses of 18 great masters in graceful positions, arranged according to precedence. Price 10 cents.

Medallions that cannot he bought elsewhere, some¬ thing neat and attractive, very appropriate for gifts, real photos of twelve Great Masters of music with a celluloid cover¬ ing for protection, made in two styles: four inch round and cabinet oval, with easel back; subjects as follows: Bach, Beethoven, Chopin, Handel, Haydn, Liszt, Mendelssohn, Mozart, Schubert, Schu¬ mann, Verdi and Wagner. Special Holi¬ day price, 25 cents postpaid.

Plaques A small but appropriate Christmas gift

made of hard plaster and provided with a clasp for hanging, size 4j4 x 6J4 inches, of the following composers: Bach, Beeth¬ oven, Chopin, Handel, Liszt, Mendels¬ sohn, Mozart, Rubinstein, Schubert, Schu¬ mann, Tschaikowsky and Wagner. Special Holiday Price, 40 cents postpaid.

Musical Jewelry

On page 910 of this issue will be found a complete advertisement of our Musical Jewelry. The various designs make very appropriate gifts for those de¬ siring to present something in keeping with the season and are particularly ap¬ plicable to those with musical taste. They are sold at very small prices, and have always given satisfaction. Many of thj- designs are available for use as Club Pins and Badges. We give below a partial list of the more popular articles. An illustrated catalogue of the complete line will be sent for the asking.

LADIES’ COLLAR AND CUFF FINS; made in three mottoes, “Never Be 1 lah ••Sometimes Be Sharp,'’ and ''.Uwaysne Natural " in sterling silver, gold or sliver

gold plated, 25

°nmtEASTtSi,INS, containing all three timente, 50 cents each_ in (M finish : hard enamel,

STICK PINS, In either of the three sen timents, sterling silver, 25 cents each

‘jgr pin, 25 cents. Tile Violtneello or the Violin °r the FoW ns stick pins in two qualities, 2o cents a 50 cents. . lTre>

See the advertisement listing the ** . Harps, Mandolin Tambourine. Ba*U<»L,> ln 11ns, Cornets as pendant: or charms prices ranging from 30 cents to $l-8»-

Riemann’s Dictionary- ,

Possibly the most acceptable gut . either students or teachers during Holiday times would be an encyclopeoi of music and one of the least expen . e Riemann’s Dictionary. This work we been recommending for a 8reat 0f years because it answers every P}ir*’'"L,r. a book of reference on all •„ an taining to music. This Dictionary_> ^ to date and is in one volume c \]aC|; 900 pages, substantially bound is doth. The retail price of. th» $6.00. Our Holiday price is & be paid. This is the last time tha >t possible to procure this valuable at a reduced rate.

the etude 909 Musical Gifts for Book Lovers.

Books have long been among the most popular of Christmas gifts. There is something inviting about a book gift which suggests future pleasures and not merely the pleasure of the moment. We are especially fortunate in having in our ditalog a wide range of books upon musi¬ cal subjects or allied to music. At Christmas time we take the opposite course from that of the average merchant and reduce the prices of certain books,— affording our customers an opportunity which is always appreciated at this ex¬ pensive season. We take the following books as representative of the most at¬ tractive works in our catalog:

Regular Holiday Price Price

History of Music—W. J. Baltzell $1.50 $1.10 Standard History of Music—J.

F. Cooke. 1125 .1*0 Oallerv of Eminent Musicians. . .75 .50

Same—Bound ln Full Leather 1.50 1.00 Gallery of Musical Celebrities.. .75 .50

Same—Bound In Full Leather 1.50 1.00 Dictionary of Music and Musi¬

cians—Dr. Hugo Itiemann.... 4.50 2.75 Ak-estis—Musical Novel. 1.00 .07 Imaginary Biographical Letters

from Great Masters to Young

The People—Cox-Cbapin .

ae First Violin—Jessie Foth- ergill

Life and Haydn,

1.00

Descriptlv Works-

Life st<

1.50

1.50

of Handel, H)__ Beethoven, Mendelssohn, Chopin, Liszt Wagner and Mozart (Petit Library)—Edw. Francis, each .35 Same—Boxed. Complete Set. 3.00

Old Fogy—Janies Iiuneker.... 1.00 UK-hard Wagner, His Life and

Works—A. Julllen. 1.75 The Masters and Their Music—

w K R, Mathews. . I Analyses of Piano —E. B. Perry. of Standard Teaching —E. B. Perry. 1.50 1.00 rtes of Great Composers

—u. A. Streatfleld. 1.50 1.00 First Studies in Music Biog¬

raphy—Thus. Tapper. 1.50 .DO Celebrated Pianists of the Past

and Present—A. Ehrlich_ 2.Q0 2.00 E T U I) E. Bound Volumes

(Nearly 200 pieces). 4.00 *L3.» Great. Piuuists on Piano Playing

—James F. Cooke. 1.50 .50

Bound Volumes of Music.

The following is a list of very attract¬ ive, beautifully printed and bound col¬ lections of carefully selected music. We list them because they are attractive Hob¬ day gifts of more than usual value. The prices are extremely low. Considering that the books are sent postpaid, the price is just about cost. _ ,,,

Regular Holiday Franz Schubert—Fifty Songs. Price Price

High and Low, each.$2.o0 $—AM Robert Schumann—Fifty Songs.

High and Low. each. 2.50 2.0V Fifty Mastersongs. High and 0

Low, each. 2-50 "UB Frederic Chopin—Forty Piano

Compositions . 2.50 2.00 Frederic Chopin—The Greater

Chopin ... . 250 2.00 Edvard Grieg—Piano Lyrics and

Shorter Compositions. Edvard Grieg—Larger Piano

Compositions . Franz Liszt—Twenty Original

Plano Compositions. “• -ty Piano

2.50 2.01

2.50 2.0(

Transcriptions . Ihe New Organist. Whiting... Robert Schumann—Fifty Piano

Compositions . Twenty Four Negro Melodies.. Mendelssohn's Songs without

prieg Album. Moszkowski Album. Bngner— Liszt Album. Frederic Chopin—Waltzes - r rederie Chopin—Nocturnes.... Mozart Sonatas. Beethoven Sonatas. Vols.

2.00 115 2.50 1-40 2 50 1-40

2.50 1.40 2.50 140 2.50 1.40 Chatninade Album.

Godard Album. Grgan Player. Pipe Organ Col-

lection . •’reran Repertoire.

Collection .

^^be^..15 Rh^fS 3.00 2.25

Pipe Organ 1.50

1.50 l.«

fe supply batons for music directors 'rices ranging from 30 cents each up- ds, one in ivory and gold for presen- in purposes, costing $10.00. but for hical use while at the same time suit-

as a gift, we recommend a special 5. No. 211, of rosewood with German sr tips and center band, that we can r during the holidays for $1-75 post-

A Gallery of Distinguished Musicians.

We take pleasure in announcing that

Irtl?vrrang,ed t0 Publish a series of portrait biographies in an attractive book '°™’Jnclu.dmg many of the most im¬ portant modern musicians. This will be issued in uniform size and style with Musical Celebrities and Eminent Musi¬ cians, but the contents of the book will be totally different and entirely new, as it will contain biographies not included in the other collections. Despite the fact that the former collections represent one hundred and forty of the most famous musicians we find that such important composers and artists as Massenet Ysaye Caruso, Henschel, Hugo Wolf,' Dam- rosch Wolf-Ferrari and other musicians of like prominence were not included. The new collection is unique in itself and stands by itself. That is, it will make a highly desirable addition to your studio independent of the other books. In fact, teachers interested in modern music workers may find this book more neces¬ sary than those previously published in the same series. Seventy full page por¬ traits accompanied by comprehensive, yet concise biographies will make up the new book. The information in many cases is more definite and inclusive than that which may be found in some biographical dictionaries costing twenty times as much. In advance of publication we shall be pleased to send all who accompany their order with cash a copy of this new work at the special introductory of 33 cents. The same book bound in tine ooze leather at 75 cents. Order distinctly “The Gallery of Distinguished Musi¬ cians.” The Gallery of Musical Celeb¬ rities and the Gallery of Eminent Musi¬ cians sell during the Holidays for SO cents each, in leather $1.00 each. We will send all three paper bound for $1.00. postpaid, leather bound for $2.50, post¬ paid.

Grove’s Encyclopedia of Music

This great work has been withdrawn from the general market on account of its being sold only by subscription. Wc have made arrangements whereby we can furnish the work at an unusually low rate, lower than it has ever yet been offered. The work has lately been re¬ vised and entirely new plates have been made. It is a colossal compendium of musical knowledge, in five large volumes. Sir George Grove gave almost his entire life to the work. It is a credit to the cause of music. It is the most complete encyclopedia of music in any language Anyone wishing a complete musical library will find it in Grove s Dictionary The new edition is but two years old and it was then up-to-date. ._._

Our special price this year during the Holidays is $15. Ttate "<* elude the transportation. The work w be sent by express. Remember $la win purchase the entire work wh* few months ago could only be purchased

for $25.

Wagner’s

“Nibelungen Ring.” This unique and world famous mast-r-

work of one of the "f'^Te in £ nineteenth century should t * . of

ISanof p-Sloritirort

majestic^ permanent world s music *reas"D; . cc,irr« of

good doth bindo**. thc’mu?ic arranged and Engbsh texts dorchestra scores by from the or,?l" rliur volumes mas Kleinmichel. The. ef <500 prepaid to be had this •nitedStates. or W-

A Gift of Value at the Smallest Price. Great Pianists ot Piano Playing. fiy J. F. Cooke.

Holiday Offer No. 3^0— Durro Violin. Stradivarius Model, light brown, high

With ail P°ll‘h. nicely ornamented and well fin- Witb all *he ixhrd, tone and workmanship first class, proofs read, the Durro bow of Koma wood, light, strong pages “made up” leather board, waterproof case. Italian

1 ■ and the pictures strings, best rosin, flecker chin rest, pitch being engraved, it can be but a very short pipe—$15.00. Transportation extra. For time before this new work will be in the Uie student or p

jHilished, “flamed.” n wood, tone to satisfy a proiesi cian. bow genuine Pernambuco

right and shape ornami

hands of those who have taken advan- tafe_of our special offer, which enables all Etude readers to secure a copy at a fraction of the price, which will be placed upon the book the moment it is published. In other words, by ordering now, this _ work of nearly three hundred pages, may sole leather cai be had for 50 cents. The twenty chap- 1“**4 Padua string! ters are devoted to the personal state¬ ments of the greatest pianists of our time upon the subject of piano playing Each chapter is devoted to one pianist and in it the virtuoso gives his intimate views upon how the piano should be studied. It is by no means exclusively a book for teachers, or advanced pianists. Any student capable of reading will find hundreds of inspiring ideas, illuminating explanations, practical technical examples all expressed in clear English. The con¬ ferences have been prepared in person during the past ten years by James Fran-

-Dt ro Violin style am

de of selected old

M 1 best

reive

cis Cooke. Among the pianists included _1 j_1... \- _ c v unira

. special model dtin T ran spoliation ' extra.

These are genuine bargains and we are sure that any of our patrons who have accepted similar offers from us in the past wifi not hesitate to recommend them to their friends. Satisfaction guaranteed.

Holiday Issue Title Page

It would hr difficult to imagine a more' appropriate or a more beautiful and at- ti active title- page than appears on this issue. A most artistic portrait of a most beautiful character among the musical

of all timet, a picture delicately

Rachmaninoff, Ossip Gabrilowitsch. F Busoni, Harold Bauer, X. Scharwenka, „f the

drawing r<

well worthy of 1

t pn cal t well a

tcki-

Wilhelm ltachaus, F Zcisler. Josef Hofmann, Teresa Carreno, Emil Sauer, Josef Lhevinne. Max Fauer. etc. No more attractive Christmas gift for the piano student could l»c imagined. It will bring new ambition and inspira¬ tion from the greatest masters of the day to every purchaser. Price, 50 ccnti the date of publication when this imroduc Lory price will be discontinued and tin regular price for a book of this size am kind will be applied. We are planning t* have the work ready for delivery be fori Christmas. Numerous fine hslf tone cn- _ graving*. Biographies of all pianist, rep- ColTeX.

old

The lettering has hem

have arranged to ft (18 x 21) complete with mat. for $1.50 postpaid.

We can also furnish oak frame photogravures takm from previo

;i title pages and illustrated on p»i this issue for $1.25 postpaid, sire These photogravures in monot< out printing, sell for 25 cents es colored 75 cents; the cost of ti of course, would lie additional pricea.

resented.

Music Stands

We herewith give a list of the most popular music stands sold by us. There is no doubt of the apprdpri— —«*" an article of this kind as t for musical persons and the pru herewith give are very low for the month of December.

1.—t'mbralla Bund (wrtxtt 2 Ibwt.Jsp- snued when folded ; 21 % laches long. Fries

*1.25.

pipe organ W>k is fair¬ ly well along and

will lie withdrawn from the special offer during the next month. The opportunity is still open to procure a copy of it at a very nominal rate. These pieces are all

f a grade auitable for the average <

U 2 -hsm» abkel puted II 00. 8.—Nickel pl«t"d, no thumhsen- 4.—Rockwell TelrsuohU- KUirid,

compact, very strong, full ;

l**S—llamlUsa “trseonlr plsted^ho rSaSc-a fir Mosl'- Wands, $1.00.

holiday gift g*«ri»t and most of the pieces have ap¬ peared in Tilt Entrn- They will he bound up in strong cover and will he in most available form for organists. As the pieces in The Error now are spread over so many volumes they are almost useless to organists, but bound up in a suitable solum*, they make a very valuable cotlec-

i» market), *1.75.

7-No. S3 Lyra Orchestra Bund. Iron tube ond rod. “'-st ds»t*n,> «Mt _ trilt

Transports turn

The advance price if hut 30 cent* post¬ paid

Salon Album. Thi* w ill he pos¬ it ive 1 y the last

nonth in which this collection will he of- ered at a reduced rate The collectvm

• t, i j has Ixtti described in detail in several of CMMDto ,he l***’00* The F.ruto It is

me of the moat popular collectinm of old favorites that it in the Friers eatakgruc. Thr pieces are principally by such authors as Krttercr. Goeia, Aarhrr and Richards, such pieces as have stood the test of time and become, as St were. 1 lassies of this particular class of motx There are in all twenty pieces which are Here offered for

cent each postpaid, that is 29 c

Mahogany conductors’ ir.g metal rod, at prices from $10.00

^Tbe prices here fiven are postpaid. The stands will I* packed carefully.

Violin

Outfit. We have made special arrangements with

one of the large importers of musical instruments under wlklclsmw »«'aMeto j- ^ ^ ^

of 'three1very special bargain* in violins, l<ound up inthe ostial Frewr Edition 0V. _bows and accessories Any style. This hook would make a very ac-

- .-— (Cptable Holiday present to progressive

New Vocal Album. The special of¬ fer cm this »41rc-

if modem songs will I* Completed

e of these offers is a safe investment, "h in its cU^. fiivioR full value for the each in its class, giving full

money asked Here ^ -Violin.

Amati Model eolden brown, imitation old chipped varnish, ebony trimmed, snake- llun wood bow. leather hwrd waterprrW case. (h)rinR thr currtBt n«mth

...JBPi L pi*4* P’l* Transportation extra A good

beginner’s outfit

The •i - % price of this

910 THE ETUDE

Gifts for Music Lovers at Special Prices 5 for 1914

Ss&Mi-S-Ss

Musical Post Cards

Historical Post Cards

Reward Cards

|^th| Gr.

Selected List of Musical Works GREAT PIANISTS ON PIANO PLAYING

iiSSiSsiSssss RICHARD WAGNER—His Life and Works

THREE GIFT BOOKS OF SMALL PRICE

GALLERY OF MUSICAL CELEBRITIES Series I .75 $1.50 .50 $1.00 GALLERY OF EMINENT MUSICIANS Series II .75 1.50 .50 1.00 GALLERY OF DISTINGUISHED MUSICIANS (New) Series III .75 1.50 .35 .75

LIFE STORIES OF GREAT COMPOSERS lies of the Great Masters By F

OLD FOGY-His Opinions and <

The Standard History of Music

iry Biographical Letters from Great y ALETHEA CRAWFORD COX and A

BB1

BOX SETS OF BOOKS AT VERY LOW PRICES The Petite Library

■mmmm Holiday^Caeh^Prjce^Poiitpaid^Six^Voluniea, day °2s^LN«:hVo

Descriptive Catalogs of Musical Works, Post Cards, Pictures, and Musical

THEO. PRESSER CO., - 1712 Chestnut Street,

A - %:

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Beautiful Lithographs

Novelties on request

Philadelphia, Pa-

THE ETUDE 911

GENERAL MUSICAL LITERATURE ftLTii INSTRUMENTAL COLLECTIONS

I s=

1

S*SS- i.o0 120

Music and How it i» Won',

iolin Playing' Cour-

Tnn>iusii.: * tisod::.: J i3

« tel., Irst Itoeltal Piet

BIOGRAPHY AND LETTERS

35" ;

si

..Mb sj'Siuitce i:” h,;';pi";

FICTION MUSICAL NOVELS

BOUND COLLECTIONS

\m

HISTORY , ,, rv is

* :iSr,S3fi « *y&^p Sr isii3Ssw

VOCAL COLLECTIONS B

FOR THE CHILDREN _ ToI

Alette you.*, opes, schu- „ %''f k*'^ ..• SS ^ K MUSICAL PICTURES^PLACQUES ANDJV1EDALIJONS

'child ■ world <;aynor ^ | |hf. Mu<m. m'JVh

i5S

MISCELLANEOUS , «■ - ■.

: of 12 Great Matter*

912 THE ETUDE

PROFESSIONAL DIRECTORY ARTISTS AND TEACHERS

hTrawlins bakers

SCHOOLS AND COLLEGES

CHICAGO,

BECKER GC8TAV L. Pianist CHICAGO

ol of Music and Auditorium Bldg.

BOGERT =: Tc«eh.r »f Singing to'l«n

GILBERTS

Chicago: Chicago::

MONZEL MOULTON r Nichols:::"

Audio—Sternberg School »rg School I'lilladelpl

CINCINNATI COMBS CRANE

petersilea: DETROIT'

PETERSON STOCK “

Mr. Stock will gire pei t" m.V.'a"'iii<i«.'r<

EUGENE W. 40, Slnrilo Hlilg..

DANA’S Musical Institute

HAHN SCHOOL: HAWTHORNE

TRACY OHARLKS LEE KNOX.

VEON VON grab ill:;:

MARKS’ TS = MINNEAPOLIS-’SeS

THEORY AND NORMAL COURSES

BURROWES: COURTRIGHTS dunning

of Musical Kin-

NEW YORK 3» NEW YORKjriH NEW HAVEN

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NEW YORKi

FLETCHER NORMAL'

vatory of M of Fine A

|/rnn Tilt. CARL WILIIRLM. Tenchrr, Compeer,

ft t ll ll ^rl^biui^%o^.sw*«To<Yk*«lto.8t?U INSTRUCTION BY MAIL

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orth VIRGIL

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BRENAU The Finest $1.50 Gift Book for but 50 Cents

GREAT PIANISTS ON PIANO PLAYING BY JAMES FRANCIS COOKE PRICE, $1.50

A Series of Personal Conferences with Distinguished Virtuosos giving their Personal Opinions Upon Piano

Technic, Interpretation, Expression and Style Among the eminent Artists represented are

Bauer Gabrilowitsch de Pachmann Scharwenka Bachaus Goodson Pauer Schellinft Busoni Godowsky Reisenauer Stojowskl Carreno Hofmann Rachmaninoff Zeisler

Lhevinne Sauer A chapter is given to each of the above keyboard masters. Each chapter is pre¬

faced by a fine portrait and a concise biography and followed by test questions for u=e in clubs. The book will be handsomely bound and cannot fail to make an- especially useful and attractive addition to any music room. The book contains all the essential principles of the pedagogical practices advanced by the great teachers, Liszt, Tausig, Rubinstein, Leschetisky, etc.

While this important new book will be ready for delivery to our customers in time to be used as a Christmas gift we have decided to continue our special offer to enable our friends to secure a volume so appropriate for Christmas giving. The price of the book will be {51.50, but we shall be glad to reserve a copy for all friends who desire to take advantage of our

SPECIAL CHRISTMAS OFFER OF 50 CENTS A COPY providing the order is received prior tq January first, 1914, and providing cash accom¬ panies the order. This is one of the most liberal offers ever made by the Theodore Presser Company. It would be difficult to imagine a more acceptable gift book for the sincere music lover.

PHILADELPHIA, PA. THEO. PRESSER CO.

Wolf-Ferraui’s new opera, L’Amour Mtd- icin, is to be heard iu New York ut the Metropolitan this season it report speaks truly.

It is said that $150 000 will be spent in Pallas, Texas, for music, including theaters,

lSl.t Street. New Tort

entitled Her Little Highness has been suc¬ cessfully launched In New York. It is said to be as tuneful as Its many predecessors, not excluding Robin Hood.

The yacht of the Prince of Monaco, which bore him to these historic shores, has on hoard a unique contrivance. It is a wireless piano which is able to transmit music for a distance of 200 miles.

The elaborate centenary celebrations of the birth of Verdi found an echo in New York recently, when the Italian Orchestral Society of New York gave Aida in concert

A new Ilope-Jones organ has been erected in the Pitt Theatre in Pittsburgh, Pa. It Is the first to have the swell shutters under control of the manual key-touch.

Chicago music lovers are in protest be¬ cause of too many Sunday concerts. They are sorry hut they cannot be in attendnnee at five important concerts at once.

The Davis nnd Elkins College of Elkin, West Virginia, has recently placid Its music department under the direction of Prof. William E. Hauff.

The successor of the late E. M. Bowman, organist of the Calvary Baptist Church, New York, has been found in Dr. A. Madelcy Richardson, formerly organist at Southwark Cathedral, London, England.

London, will be heard, this year In Minnea¬ polis under Emil Oberhoffer. Mr. Hinton will accompany his wife, Miss Katharine Goodson, on her American tour.

After her concert at Carnegie Hall in New York, Mme. Carreno will make a tour

* ■“— *- the Pacific coast. American ’• glad to have an opportu-

extendlng ... audiences will ... __ „ _ nity of welcoming her again.

uiiigau, w it a wen Kuuwu as an organist i New York. He was also a composer and

excellent teacher. He died in St. Paul, Minn., and is survived by his wife and three sons and a daughter.

A new work by Reger. A Romantic Suite was recently given in Chicago hv the Chlewm Symphony Orchestra under Frederick Stock It proved to he far more tuneful and erac.’ ful, so the critics tell us, than the usual polyphonic profundities of this composer iead one to expect.

Columbus of San F'rancisl-o vL„ „ a concert at which Alice Nielsen wa5 in,, principal artist. The building proved to be an excellent concert hall, and will doubtless prove a popular home for musical recitals.

The Boston Singing Club has decided to disband, and the valuable collection of music which It oossessed has been given over to the New England Conservatory of Music. In- eluded In the gift of the Conservatory arc several works from the private collection of tne late Carl Zerrahn.

Paderewski is with us once more. He will make a tour of eighty concerts for which it is said that he will receive more than $100 000. He commenced his tour at Trenton, N. J., but was taken ill immediately after the concert and was obliged to cancel ills engage¬ ment in Jersey City. Fortunately he soon recovered.

A new and peculiar Invention by Mr. Charles Fuller Stoddard has made it possible to combine a talking machine and a pianfl- playing macuine in sueh a way that the untrained music-lover can enjoy the luxury of playing accompaniments for the world’s greatest artists with great satisfaction to himself aud at least toleration from his neighbors. <

in New York are not only meeting with great npproval from the critics but have been finely patronized h.v the public. Messrs. Aborn are showing what their long experience may do in putting on performances of Grand Opera in English on a large scale.

The first concert of the Boston Symphony concert opened with a program of Brahms, Wagner, Liszt and Beethoven. Carl Muek showed his usual mastery over the resources at his disposal. The conservatism of the pro¬ gram, however, is in contrast with that of the Philadelphia Orchestra's opening concert, which included Wicland der Schmird, a nov¬ elty in America, by Sigismund von llausegger, under the enterprising Mr. Leopold Stokowski.

What is believed to be one of the finest college organs In America wns inaugurated at Wilson College, (Chambersburg. Pn.l dj Oct. 4th. The opening program was played by Dr. Orlando A. Mansfield, the Professor of Music at Wilson College. The program Included works by Bach, Mendelssohn, Mer¬ kel. Gullmant, as well as original C0™PP; sltions and arrangements by Dr. Mansfield and his son. Mr. Purcell J. Mansfield of Glasgow. The recital was enthusiastleallj appreciated by a large audience.

BEGINNER’S BOOK Pianoforte By THEODORE PRESSER Price 75 Cents THE latest work along lines of elementary instruction. The material used is entirely fresh and is presented in an attractive manner. It is intended for the veriest beginner; little tots just out of kindergarten. A very large

note is used in the early part of the book. Questions and answers are given to clinch every subject- Writing exercises are introduced at the very start.

The utmost care has been given to every part of the work to make it as nearly a perfect Beginner’s Book as it is possible to make. A trial of this new book « earnestly solicited by all who have to deal with elementary piano instruction. Liberal discounts.

Theodore Presser Co., 1712 Chestnut St., Philadelphia, Pa.

Standard History of Music By A FIRST HISTORY FOR STUDENTS

Clear — The whole subject is re¬ duced to the simplest possible terms.

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Ready—Demands no previous ex¬ perience in teaching musical history.

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wrv>. vuv. z-kiiierican —A meric**' "*■**•■* *J- phase and one phase only. ’ ’

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the etude

rift fi&r* ft&ss* SWrf.SSwM km | is

ff'SkSvssi'lrSLsSS' Ifl Parsifal !*<lce/,Ved requests to conduct j' [fl 'line* *1 h«vyre,Uth’ ,but he ^variably £ h H feed he I

913

“Sforganist of the efiuren tor many yi X Ker. Mr. McIntyre presided, aud the choir, which has been so well trained by fj> bowman, gave suitable selections. Mr. \ Inert Koss Parsons read a paper de- vhted to Mr. Bowman’s attainment as organ¬ izer of tlm -' A eulogistic a count of Mr. Bowman’s

the Maine Musical Festival, held at Bangor, served to add fresh laurels to the snlendid organization which is responsible for its enterprise. The works presented *~ the chorus aud orchestra were taken fr„„ . , the leading modern ns well as the classic spring. .. ,l,„ work being tile Ver/li success. « er* .arsjy&SSffi i

8 also repeated in Portland. -- is composer. He was recently i °-ith1S “ts°„r bi0at.an- came ln

GuUniaut Organ School of New York, has which his family* "were rhfing^Th^resuh called our attention to the fact that a state would have pro/ed a fatal dLster but fo ment was made in The Etude a few months the help of other boats which rescued the ago giving another institution the credit of shipwrecked. The accident took ^“ace on being the first school of liturgical music Lake Massaciuecoli, near Pisa Italv in the United States. This is an injustice to Dr. Carl who has conducted departments ^ under able church musicians and lias met 1HE German Kaiser has apparently con- with practical success for many years. Dr. t0 a Production of Parsifal in Berlin. Carl’s aim has always been to have the Guil- as in many other things, he differs _- SI.ill,V.,I ,1,.,. frODI lliS II11 LOTS, olllAel onn ,..h— ~t -

v.„0- . JUOUJ Oil 11 that rro“> Ms august eldest

» the Reichstag ’’for t

The Penn-State Male Quartet of the Penn¬ sylvania State College will make a trip to tile Panama Canal /one during the Christmas vacation. The Quartet will go as the guests of the U. S. government and will give a series of concerts in the Club Houses of the Y. M. C. A., located in the Zone. Last year the

•>-'l the Quartet enjoyed an exten-

i Sir Edward Elgar's

, iny Lord, j

Comments o„ ™mnu ragur s most recent work, an orchestral tone poem on the subject of Valuta fl, which was recently

__ j_ produced In England, seem to indicate that Giee Club and the Quartet enjoyed an exten- the yrOrk Is dull ln spots with brilliant mo- sivc California trip as the guests of the Santa “ents. This is suggestive of the bashful coin Ffc Railroad. The success of this unique muse y°unS minister, who. on being ical work is due to the efficient management ®®ked if the egg he was eating ~ -. of the Director, Clarence C. Robinson. Sev- 0?®»nreplied, tarts or it, my eral of Mr. Robinson’s compositions have ap- excellent, peared in The Etude music section.

A new work by Saint-Satins, which is really The eleventh annual competition for the ;lu old work, was recently given at one of

IV. W. Kimball Co. prize of one hundred the tolonne concerts in Paris. t is the dollars, offered by the Chicago Madrigal Club, ?£rA°p£!3 „~vnLq!!!Lmh a'1 S?” i has again been won uy Mr. Louis Victor composed In 1854, but never produced. The Saar. Mr. Saar, of Cincinnati, and Mr. Henry veteran French composer discovered it among , \ i .HIT win ,limn- nrtzes of this kind his papers and decided to let it In- played thatthfv n k non them as a sort of without making and revisions. The work annnitv * 1 is said to possess all the characteristics annuity. which have made Salnt-SaSns famous.

The eighth season of the Philadelphia Operatic Society opened early in November The house In which Richard ■ with a most creditable performance of Aida, horn was recently ^ danger of being employ isl This amateur body of opera lovers have been as a^distillery Thanks to the Influence of responsible for a large awakening of interest the King and the ^r<^n , wm*xoi'1* ' in operatic affairs in Philadelphia, and quite a wealthy citizen of Dresden has come for* a few professional singers have made their ward and announced his ,nj£nt,g"

rellent" from'th/Zvery city for'havlng taken proved once more that he is a director of part in street noting, exceptional ability. The soloists were also very good. The president and founder of «,» T-f - —.--t feel proud

achieved.

| f (3

These great artists come home Christmas with the

You can search the whole world over

another gift that will bring so much pie*

member of the family. Any Victor dealer in ai

will gladly pla]

to your Victrola

ou the

ity in the world ou with to hear wonderful Victor- and demonsti

Victrola. Victor. *10 to *100. Victrola. *IS to *200

Victor Talking Machine Co., Camden, N. J., U.S.A.

very good. The pi_ the society, Mr. John Curtis, of the success ills efforts 1

A French composer, Xavier Leroux, Is work¬ ing on an opera to be called The Dauaht" of Figaro, a sequel to Mozart s ilarriW' of Figaro. Its principal characters are tin- descendants of the principal. of Moiart*

Abroad. work and The Barber of BeviUe. will be among them, but it is *

Hamburg has celebrated its five hundredth old fSenam* performance of Lohengrin. jS&rt We qSesImn 'e^mneU. however

Karl Burbian, the eminent Wagnerian whether the weight o tenor, has decided to make Buda-Pesth lii» i.in,h,n Yuration permanent home. »»

be- American planlst froni playlng thc pb.Do ^

* sansssrtx. fg The title of Court Pianist ha stowed upon Wilhelm Bachaus by Duke of Hesse.

The cross of the order of St. Michael, has been conferred ou Enrico Caruso by the Prince Regent of Bavaria.

. ?SeTn£En “which ,. ri.cjmt

necessary0*after a'trnJpDerman luncl. in Germany, however afi window

, Another operetta by Franz L«bnr, of closed while practicing. Merry Widow fame, hiis been produced in , Menna. it Is entitled The Ideal Wife. Paderewski has Just won a suit In D'"1 '

against the concert manager an»*r Dresden recently celebrated tbe slxtieth scjlf Mr. Ku»«41, JL !Te™l,’..|,n aHtst wlios.-

ftSBu 'tJtnsrvs:- ..nSSe. ffi ssss?Sj «« tsi The Villa Wahnfried at Bayreuth was S^eonthe ground tba‘tk«* v™ an

s'.So.*sen ■" S this is not so.

THE PHILADELPHIA ORCHESTRA LEOPOLD STOKOWSKI, Conductor

EIGHTY-FIVE MUSICIANS 1913—October 17 to April 18—1914 ^

25 FRIDAY AFTERNOON M •ATUROAVI'' ^

SYMPHONY CONCERTS and one spr.< ial vi# dni.mjav matinee

Dr^ Ethel Smyth, the composer of 3 "reciters. Is to write a new opera, the no-- a.cvs fresh rrom ms ^.which Is by Herr noffmanstahl, the lib- baring an equally notal 1 n^lst,of Richard Strauss. The work will England. “ At first lf 11wk'Hl,V probably lie nroducod in Munich. reception In would he something of «

if his YlfJi'm0 haverondurted his,m«^r-

--—j vt mi'DHru strauss. Ji probably be produced in Munich.

Pail Links, the famous waltzes and operettas, lias just new 3-act entitled Casa nor a. whin successfully produced in Chemnitz.

• • ,s been but found Jhat^so i

to do so. £8 sood * ^ s„nt a tel eg ram

Bom ilms heen known for some time that '“gjj&ns nPPr°vlIJJ\ (Vj’nm'vori HucIiwb. w^klV'ho,,ltfnaom.riPSt'HoPlfas now aSother W the lnjtcndant. Co . —

uZ^y«

..... it,, has now Iiouyoc* ~ . . g pis ‘ m.V VV'" ,h<‘ P,lPal sanction both for the my nfLra be given libretto and for the music, nnd the work, the poser’s own dcElrrt. « is understood, will be nroduced shortly. TO

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Titus* taentlOB THE ETUDE wh.n »

914

A Book about Pianos

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Will you accept, with our compli¬ ments, the most interesting and in¬ structive booklet ever written on how to judge a piano? 4J It is so easy to be fooled about a piano, The case is all you can see—yet it is the least important part, It’s the pith—the in¬ side, that really counts; and that is why we have named this new book “The Pith of the Piano Problem.” Written in a clear, simple, non-tech- nical way, “The Pith of the Piano Problem” tells you how to avoid the pitfalls as well as li'ow to find out the good points of a piano. Anyone can understand it, and apply the simple rules set forth—no matter how little he or she may know about music—and it is equally helpful to the expert musi¬ cian. Your copy of “The Pith of the Piano Problem” will be mailed gratis. Write today—a postal will do.

SOHMER & CO. 317 Fifth Avenue NEW YORK

The Piano with the "Homo" Vibrating Sounding Board

Full resonance means wonder¬ fully rich tons, which makes pos¬ sible increasod expressiveness and power In your playing.

The H ADDORFF Plano has such a sounding board—the scientifically constructed “ Homo ” - Vibrating Sounding Board—which produces a tone of unusual richness—desig¬ nated as the “ Homo ”- tone.

By all moans take occasion to hear the HADDORFF at your first opportunity. Let us tell you what home or dealer In your city has a HADDORFF. We will give you an introductory letter which you may use If you doslre. Write also forthe Free Booklet, "The Homo-tone."

HADDORFF PIANO CO. 312 Ethel St., Rockford, 1U.

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HADDORFF

THE ETUDE

OVER THEIR HEADS.

BV ARTHUR W. SEDGWICK.

One of the most unfortunate mistakes the young musician makes is that of play¬ ing music “over the heads,” or shall we say “over the ears” of his audience. He expects a mixed audience to have the same appreciation of a complicated piece of classical music as has an audience of teachers and students in a conservatory. More than this, if the audience does not show its appreciation at once with enthu¬ siasm, the musician adopts either an air of lofty superiority or one of injured martyrdom. If you have ideals and really desire to attain them do not waste time in any attitude of self pity but work for your ideals sensibly. First find out what kind of music really pleases your hearers. Play it and play it enthusiasti¬ cally. Make it sound just as well as you would make a Beethoven Sonata sound if you were playing Beethoven instead of Claribel or Balfe. Then diplomati¬ cally introduce some piece of a little bet¬ ter grade. Train your auditors with the same respect for grading that you would employ in teaching a child. Remember that you can not jump from Schumann’s Froliche Landsman to the Second Rhap¬ sody of Liszt. Before you can realize it the pupil and his parents who have turned up their noses at the musical flowers in favor of the coarser weeds will learn to appreciate the good as you appreciate it. This has been accomplished success¬ fully over and over again in hundreds of cases. There is a teacher in a Western school right now who can not succeed because he lacks the human insight which might bring him in touch with his patrons.

FAIRY-KISSED MUSIC. Music and all connected with it be¬

longs to the half-lights of Fairyland. Only those can write music who have listened to “the horns of elfland faint¬ ly blowing,” and it is therefore not sur¬ prising that the publishers’ catalogs are filled with such titles as “The Fairy’s Wedding” or “Fairy Dreams.” In some cases, at least, the fairies seem to have supplied the inspiration in the truest sense of the word, while in others, alas, the dwellers in the land of enchantment failed to respond to the incantation of the composer. If ever music could be said to be fairy-kissed, however, surely that of Mendelssohn which he composed

to accompany the fairies in Shakespeare's Midsummer Night's Dream, best earns the description. In this work, Shakes¬ peare was thinking of a special kind of fairy that is only to be found in the soft, bosky vales of Warwickshire (he never actually says so, but anybody who has ridden a soft-tired bicycle by moonlight from Kenilworth through Warwick to Stratford knows the kind of fairy I mean —there is an even better road .which leads from Stratford to Arden itself), and it is therefore very surprising that the Teutonic Mendelssohn should have en¬ tered the hearts of these fairies so deep¬ ly. Mendelssohn loved England, how¬ ever, and was well acquainted with its fairy-folk.

MODERN FAIRY MUSIC.

Weber went to Fairyland for his Oberon, and made almost as many friends as Mendelssohn, while Mozart was half in and half out of it all the time—almost entirely in it when he wrote The Magic Flute. Among more recent composers, Humperdinck with his Hansel und Gretel, and later with his Konigs- kinder unquestionably has the entree to supernatural regions. Tchaikovsky pro¬ duced some rather chilly elfin folk from the glistering North in his Snow Maiden, and Sir Arthur Sullivan, in his lolanthe, called up some very charming little peo¬ ple who, however, by the end of the opera, got very sophisticated indeed, and married all the members of the House of Lords. Grieg made repeated excur¬ sions into the mist-veiled mountains of the North, and has told us what he saw in The Hall of the Mountain King in the Peer Gynt suite. His March of the Dwarfs, and the Elfentans presents some queer little pixies who must have been closely^ akin to the witches in Mac- Dowell’s Hexentans. Wagner, of course, took Fairyland by storm, and gave us all manner of dwarfs and flower-maidens, and the damp but lovely denizens of the Rhine. One or two American composers, including Mr. van der Stucken, followed Rip van Winkle into the Catskills, and brought back many haunting strains.

Some pupils are like those who take only a few bites of each dish. They taste

many things, and eat and drink until they have dyspepsia. So many pupils learn a little of this and a little of that piece that they never digest anything well; they

cannot grow; they are musical dyspeptics. —C. Merz.

METRONOMES We retail more Metro- Every instrument we sell We handle only those names than any house is guaranteed against of the best makes ob- m the world. mechanical defects. tainable.

THE STYLES ARE : NO BEL1 American Maelzel with door attached.£2.25 American Maelzel with detached lid.2.25 French Maelzel with detached lid .....’ .’ 2*50 J. T. L. (Best) French Maelzel with detached lid . 3.00

PRICES NET TRANSPGR TA TION ADDITIONAL

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WITH BELL 33.25

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THE ETUDE

(Seising Fritz by the arm)

chilrl,en~bhefiS Playing again' See *e chfldten beating time, one, two. three; their tiny feet are pattering everywhere. Come-there he goes down oUr street mto the close by the old church.

GRETEL. (Running with Hans and the other

children)

There he is up the stair by the old low bridge over the Weser. See Grctchen Schmidt running for all her life. Her feet are bare and her pretty hair is all a tangle. She’s dragging Lischen by the arm. There comes Maria with the baby and Dorothea has her cart, and oh! how smart dear Ricky looks with a water bucket perched on top of her head. (She points above) See there is Carl with his face bound up.

HANS. (Calling up to Carl) Come, Carlchen, the music’s great. For¬

get thy tooth before it’s too late. (They pass over the bridge and out of

sight.) ACT IV.

(Evening of the same day. On the banks of the Weser.)

THE MAYOR (Shaking Carl violently) Hi boy! Tell us what thou knowest!

CARL. (Crying) Herr Mayor, I know not. The won¬

derful music led us on to the mountain side. My tooth was aching so—

THE BEADLE. Oh, bother thy tooth 1 What became of

the others? CARL.

(Sobbing) I know not. The women and children

crowded me so; but the door of the mountain opened wide and they all stepped in but me. Someone cried “The boy with the toothache is a coward, leave him outside.” That’s all I know, honest and true, for just then a mighty wind blew the door of the mountain to.

THE MAYOR. Alack-a-day, what a scurvy trick that

Piper did plav. Women and children, all are gone, only one remains forsooth —this boy with the aching tooth.

THE BEADLE. What wouldest thou give, Herr Mayor, r their safe return?

THE MAYOR All, all—my land, my goods, my food. f clothes, my watch, my rings and m> ry nose, everything in all creation > ey would return to Hameln town and

'C°rPOprE?ER.THETIS-KER .

Sect thou the ho-ory A promise oken must ne’er be broken.

THE MAYOR. ’Tis true—come one, come all. we wt ■ite it down in the book* of 0U^un,fJ 11, in letters big and letters boh! A

Ttusic instead of charging of pure grace: suppose, to it rich people who now * preserve memory of the.r

shutting the out , windows with the worst ,ver good sand was spoiled bequeath an annual ««*» , 0 trial tune of a celestial char-

THE ETUDE 916

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PIANO TUNING PAYS

Questions and Answers Helpful Inquiries Answered by a Famous Authority

Conducted by LOUIS C. ELSON

Professor of Theory at the New England Conservatory

Communications t< this department are welcomed. No charge is made, but special Infor¬ mation not likely to be of Interest to all of the readers of THE ETUDE cun not he published in the department. Address all inquiries. ETUDE QUESTION AND ANSW ER DEPARTMENT 1712 Chestnut Street, Philadelphia, Pa., and not to Mr. Elson personally.

Q. (1) In Chopin’s Xocturne, Op. IS, Xo. Q. should Grace Soles 6r /.fa... J hiUnt 2, first measure, the last firo notes are thr introduction the opposite hand or middle C connected bp a slur tcith staccato the following chi.id, or *imultanrou*hr I marks under it. Whp do pianists play both hare been taught both troys tip dltl.r. nt notes in place of observing mark as tiet teachers and as I wish t; teach the priori

(2) Please explain the following passage: pie correctly will non k.ndlu set right, I am afraid that 1 am stupid enough to nerd notation examples to make me see It clearly.

Is the tie connecting the D in the first measure to the D in the second to be treated as a tie or as a slurI In the same example, measures 6 and 7, the same form occurs, but both notes are different. Why not treat all as slurs f—H. A.

A. The slur with a dot under It Is to be played 'as a pianist's portamento—that is, both notes are to be struck, hut as little separated as possible. In the example above notated play the notes which change with a strong legato, but hold the others as with a tie.

Q. Is it considered artistic to “improre" the music of the masters as Liszt “im¬ proved” many of Schubert’s piano compo¬ sitions and as. I am told. Mozart ■ im¬ proved" Handel’s Messiah. Liszt’s enrich¬ ment of Schubert’s piano works seems to me to be fully justified, but presumably Schu¬ bert knew what he was doing when he wrote liis own music the way he did. What is the best opinion on the subject!— P. C. S.

A. If my correspondent alludes to the Liszt transcriptions of some of Schubert s songs one may consider Liszt's *®rk justifiable. He arranged these for piano, and what might be effective in voice would sometimes be far less so for Pla°°- The contrasts of the “Erl king were enbamed by giving broader touches to the piano a solo instrument than It could be allowed when supporting a voice. The riPP^J1 tbp

Sfgt piano'gifise? Twas eMjg**

<0,Moza'rt’s'additions to are

ion. JUnimlelVft this or^orio m wbat ls called "skeleton score. ..T^(.nS’lt was per- Fomed^eTd nottokl the troub^to write

the vocal Pnrtfs"£ht have only violins and orchestral part might have omj ^ klnd. contra-basses, or somi .. ,Bh •• only 20

ssK^V’^ssr •s.'ssw® & r-Tf "rSgropmg‘ rjgloo-n. Dnt of the trumpet part* in ^eeS. was a Sound,” into cf dis bud It* excuses also, blunder. And yot tms “rumpet.p|aying for in Moaurt one rould seldom “ declining, and one "‘V- ««

GOSPEL SONG PLATES

o S. Flicks Street, Philadelphia ( Market above Fifteenth )

A. It Is possible that a be given to Ibis question to notation. The rule is: note on the beat—which are to play It at Just tin time of the principal note there Is a chord or note which is to be played with the grarenote t» attached note simultaneously with tl find some of the rules In Disputed I hints of Music,

Q. Can you tell me wh rirognlx'd relation brlwci

ley of F be represented or blue, etc! I am prtsU club which cuntemplati •

should be glad to choose a Indicate this key, but we the color of all the leys, •jestIon would be gratefulI

A. There Is no real e

that very many trm't < that every key reprracot* i non-arteuUfir or semiac state that tone Is vlbratloi vibration. To which I cat thing in the universe Is sort Light vibrations, o are different In character f vibrations, anil when we c<

The highest tone that the perceive baa about 38,000 end (It 1* four octaves K-ftat of the piano), while (violet), baa

tlens In the upper object lower. It will lie^seen I hi

minor third, while In eolol a single octave, sine,- viol rapid In vibration as red.

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C major while F sharp sharp minor Mark. E majo red, A major green, A nat j mA* vf3% aoff 1 ™

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AN ENDOWED SCHOOL OF MUSIC The opportunities of the Institute are intended only for students of natural ability with aa earnest purpose to do serious

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Success in Music and How it is Won. By Henry T. Finck. Published by Charles Scribner’s Sons. Price, $1.75.

Mr. Finck’s work on Success in Music has already won its way into popular es¬ teem, and this present re-issue at a cheaper price will bring it more readily within the means of precisely those who most need the valuable stimulation it con¬ tains. Mr. Finck is one of the few men in whom thorough musical knowledge, journalistic skill, and wide experience of musical conditions in the greatest of American cities, are about equally blend¬ ed. He is, therefore, the ideal author of such a book as this.

Symphonies and Their Meaning, Third Series, Modern Symphonies. By Philip H. Goepp. J. B. Lippincott Company. Price, $2.00. 362 pages, numerous nota¬ tion examples. Bound in cloth.

This work is the third in the series of similar books upon the symphony in which the writer does all that words may do to point out the form, treatment and beauty of the great musical masterpieces. In this work Mr. Goepp has made a fine contribution to American musical schol¬ arship. Opening with a chapter upon the Symphony during the nineteenth cen¬ tury, the writer passes in the second chapter to a consideration of Berlioz and Liszt. Thence he proceeds'to all the mod¬ ern workers of prominence including Saint-Saens. Cesar Franck, d’lndy, De¬ bussy, Tchaikovsky, Balakirev, Rlmsky- TCorsako, Rachmanino, Sibelius, Smetana, Dvorak, Bruckner, Wolff, Mahler, Rich¬ ard Strauss, Italian Symphonies, Elgar, concluding with a discussion of the Sym¬ phony in America with a treatment of the works of Hadley, Strube, Chadwick and Loeffler. The book should prove an excellent manual for the use of concert- goers. The first volume of the series was very widely employed—eight editions hzving been published. .

Modern Violin Technique. By Frank Thistleton. Published by Longmans, Green & Co., New York. Price, $1.50.

Considering the wide interest taken in violin-playing at the present time, it is really astonishing that so few works have been produced giving a simple explanation of the technique of violin playing. The present .work is of a “tell how” kind, and its readers are told first how to acquire, and then how to teach the technique of violin-playing. It is well written, well illustrated and eminently practical, and while it cannot be regarded as a substi¬ tute for a teacher, it is an excellent teach¬ er’s assistant. It will also he found very helpful for those who wish to study the violin but are unable to secure the serv¬ ices of a good teacher.

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